The Romance of Betty Boop (Script)
February 7, 1983 FADE IN EXT. HIGH ANGLE AERIAL VIEW OF THE CITY OF NEW YORK - AFTERNOON MUSIC of "Penthouse Serenade" or, perhaps, "Rhapsody in Blue" UP AND UNDER as we MOVE IN TOWARD THE CITY - the New York of 1939 or thereabouts - MOVING IN AND DOWN IN A SPIRAL MOTION as though the Camera were mounted on an autogyro of the era, past the landmarks and "canyons of steel", the CAMERA ZOOMING IN, PANNING slowly or rapidly in tempo with the driving, jazzy vamp of the music so that the visual rhythm is the same as the musical "pulse" of the city. Our "journey" into the city may begin out by the STATUE OF LIBERTY, then uptown along the EAST RIVER and across town to ROCKERFELLER CENTER, then DOWN FIFTH AVENUE past THE PLAZA where 'double-deckered Fifth Avenue Buses move through ' TRAFFIC as we go across town catching a glimpse of the CHRYSLER BUILDING as we find TIMES SQUARE and see signs of the era as we continue to move in and down: SIGNS READING: FLY THE CHINA CLIPPER, SUPPORT THE NEW DEAL, STEAK DINNER 35 etc. We are getting close enough to the ground to see TAXICABS in motion, lurching ahead of SHOUTING PASSENGERS , then backing up past the passenger calling to pick up someone else; and we see SUBWAY CROWDS, moving along sidewalks in a continuous stream of humanity which goes in one direction and then merges with a similar stream coming from the opposite direction as the streams merge and interweave with one stream going into a DOWNTOWN SUBWAY ENTRANCE and the other stream moving into UPTOWN ENTRY - all in continuous motion accompanied by a rising NOISE of car horns, brakes screeching, etc. in counter-point to the music. DURING THE PRECEDING, as we move farter downtown, past the EMPIRE STATE BUILDING and over to MACY'S we hear a DISTINGUISHED NARRATOR speaking in VOICE OVER. (The Distinguished Narrator should sound like WALTER WINCHELL -frenzied, dramatic, news-making voice - or, he should deliver his message in the dulcet, insinuating cadences of the living Orson Welles.) DISTINGUISHED NARRATOR (V.0.): New York ……….1939:...Not even the closing days of the Great Depression have slowed the life or dimmed the spirit of this great metropolis where eight million stories filled with hopes and dreams fight to be heard above the pounding of the big city's heart: MOVE CLOSER TO MACY'S DEPARTMENT STORE DURING PRECEDING We MOVE PAST THE CLOCK which shows hands just moving toward five o’clock. It is an autumn day and we see a few autumn LEAVES BLOWING past the clock and fall clothing in the windows. As we MOVE IN THROUGH and upper story window perhaps PAST THE MACY'S SIGN itself, the Distinguished Narrator is continuing: DISTINGUISHED NARRATOR (V.O.) (continuing) Unfortunately, we don't have time for eight million stories, but we would like to tell you one little story about a romantic and hard working New Yorker.... An independant girl who wants nothing more than to put her feet up and marry a handsome millionaire....Her name……….Betty Boop! INT. THE MACY'S LADIES' SHOE SALON A VERY FAT DOWAGER TRYING ON AN ITTY BITTY SHOE In the background is a mound of shoes she has tried on and discarded and she tugs at the tiny shoe, trying to force it onto her big, fat foot with much wiggling and puffing, muttering to herself as she struggles VERY FAT DOWAGER Unsatisfactory....I have petite feet and your shoes are crude! (she studies tiny shoe in which she has stuffed a foot with jaundiced eye, removes shoe and casually tosses it onto mound of discarded shoes, calling as she does) Don't you have anything more suitable for me, Miss Boop? …. (no answer, she looks around and calls more loudly) Miss Boop! ON MOUND OF DISCARDED SHOES as BETTY BOOP bursts out of mountain of shoes, shaking assorted footwear out of her way. A strand of curly hair has fallen over her forehead and she blows it out of the way with a defiant look as she strides out toward the Very Fat Dowager. (Betty wears a sales clerk's jacket over her blouse but the jacket is open so we see her figure) BETTY BOOP (to Dowager) I found something perfect for you. (she holds up a LARGE RUBBER BOOT) ON BETTY BOOP AND THE DOWAGER as Betty holds the rubber boot out to the Dowager who shrinks back from it as though it smelled bad VERY FAT DOWAGER Why that's much too large for my tiny foot! BETTY BOOP But it's just right for your head, sister! Betty pulls the boot over the Dowager's head and puts her hands on her hips with satisfaction as she watches the Dowager fume and hop around, trying to pull the boot off, shouting in muffled tones from beneath her boot-hat VERY FAT DOWAGER How dare you? I'll have your job!……. The Dowager falls over and bounces on the sole of her rubber boot hat, flips into the mound of shoes and continues bouncing as we RESUME ON BETTY who sighs and looks up at WALL CLOCK as HAND MOVES to show five o'clock on the nose and BELL RINGS accompanied by WHISTLES, etc. BETTY BOOP Quitting time! (moving, shedding sales jacket as she passes Dowager in shoe mound) Get on my nerves tomorrow, lady. I'm going home.... WE FOLLOW BETTY as she talks to herself as she moves hurriedly through the store picking up her suit jacket from a LOCKER MARFED "BOOP", PUNCHING HER TIME CARD OUT , pulling on a stylish little hat and grabbing her PURSE - a round, bowling-ball shaped cloth bag which hangs from two long strings. She twirls and jerks the purse around with her as she walks so that the purse moves in counterpoint to her seductive hip motion and she uses the purse with majorette-like precision, perhaps sending the purse ahead of her around a corner so that she is partially pulled around after it. As she walks, the MUSIC moves UP AND UNDER again, and she talks to herself as she goes. BETTY BOOP (talking to herself) My feet are killin' me.... One of these days I got to get a sittin' job.... Hold the elevator…………….! As she runs for the elevator we CUT TO: EXT. THE STREETS OUTSIDE MACY'S AT RUSH HOUR as Betty BURSTS out of store doors in the tangle of hustling, moving, squirming humanity moving along the sidewalk and then MOVES INTO THE CLEAR, walking away from the camera with her hip-swinging, purse-twirling sexy walk and we FOLLOW BEHIND HER as the MUSIC BECOMES EVEN BRIGHTER AND BIGGER and we see reactions to her from various ogling men. ANGLE ON TRUCK DRIVER who looks out window as Betty passes, does a take and pulls up over the curb, leans way out of truck window so his face is almost hanging down on a level with Betty's face as she keeps walking and does not look at him nor acknowledge his presence as he WHISTLES at her TRUCK DRIVER Hey, toots, how 'bout a kiss? ON BETTY as she walks away from Truck Driver who is watching her and runs his truck into a lamp post. BETTY BOOP (to herself) Sure...kiss off, ya crumb! ANOTHER ANGLE ON STREET AT BETTY'S FEET as MANHOLE COVER LIFTS and SEWER WORKER RIDES UP ON ELEVATOR so that he emerges beside Betty just as she passes by. He WHISTLES and ogles and HOWLS like a wolf, shouting after her. SEWER WORKER Hey, baby....wow, wow, wow! ON BETTY as she walks by without even acknowleding Sewer Worker who keeps "wowing" and whistling after her in b.g. BETTY BOOP (under her breath) Low life: (she jumps back) CHANGE ANGLE AS BETTY LOOKS UP STEEL WORKERS ride DOWN ALONGSIDE HER on steel beams in wire rope cradle, lowering into her frame from CONSTRUCTION CRANE at building under construction. BETTY BOOP: Watch it! STEEL WORKERS - ONE HUGE AND MUSCULAR, THE SECOND LONG AND BONY They WHISTLE and clap and ogle her as they SWING OUT ON GIRDER for a better look as Betty just keeps walking by without paying the least attention to them FIRST STEEL WORKER Hey, honey, whatcha doin' tonight? ON BETTY as she keeps walking and muttering to herself BETTY BOOP Puttin' your picture in the bottom of a birdcage! In the background, Steel Workers, watching Betty and not where they're going, come down on top of Sewer Worker moving up from street and also watching Betty and nothing else as we CHANGE ANGLE TO BETTY BOOP as she approaches intersection or corner she reacts to LOUD, SHRILL WHISTLE LIKE A WOLF WHISTLE and she is furious BETTY BOOP: (to herself) That's the final straw! Betty winds up her purse and flicks it over her shoulder like a Gaucho using a bolas but not letting go of the strings ANOTHER ANGLE ON POLICEMAN WITH WHISTLE as he BLOWS A BLAST just as Betty's purse FLIES IN and clobbers him then jerks back to Betty as if on elastic. Stunned cop blows whistle. and staggers in circles causing traffic to pile up ON BETTY as she reacts , clutching her purse close to her BETTY BOOP: Oh, mercy! FOLLOW BETTY as she runs toward stream of COMMUTERS HEADING FOR SUBWAY ENTRANCE MARKED "DOWNTOWN MEDIUM SHOT OF BETTY IN THE"STREAM"OF COMMUTERS as she is swept along as though in a river current, murmuring "000h" and "aaaaah:" as she "rides" the current down into the subway entrance as we CUT TO: INT. THE 34th STREET SUBWAY STATION ON BETTY as she struggles to stay "afloat" in the still moving "sea" of commuters, "swimming" now and again by using her elbows, her purse, a kick or two with her feet off the ground as the crowd keeps carrying her along the platform. As this is happening, Betty hears BEVERLY calling from behind her and looks around with difficulty since the call is coming from the opposite direction from that in which the crowd is moving. BEVERLY (O.S.) Betty: Betty Boop……….Yoo hoo! BETTY BOOP Who's yoo-hooin'? Is that you, Beverly? ANOTHER ANGLE- BEVERLY as BEVERLY, a plump, blonde, taller than Betty but without Betty's "class" tries to move faster than the crowd to catch up with Betty. Beverly wears "clunky" shoes with bows and a cloche hat, is rather sexy and speaks in a lilting Brooklynese with a slight lisp. BEVERLY Betty! Wait for me ….. As she struggles to get ahead of the stream, she climbs over some of the people in the "sea” perhaps putting her foot in a TIRED WOMAN SHOPPER'S shopping bag as she moves on TIRED WOMAN SHOPPER (Irish accent) Get yer foot outta me potatoes, begorrah! ON BETTY BOOP AND BEVERLY as Beverly reaches Betty and both "bob" up and down as though marching in place with the waiting "stream" of commuters as the TRAIN STARTS COMING IN with loud SCREECHING, CLANGING, etc and a WHOOSH OF AIR which blows Betty's skirt up so she has to hold it down, giving a dirty look to a MILD LOOKING PROFESSOR who holds a pipe in his teeth and looks at the Daily News while secretly eyeing Betty. (The train arrives just after Betty and Beverly start to talk) BEVERLY (a real, non-stop gas‑bag but Betty's best friend) Oh, Betty, I tried to catch up with you in the shoe salon but you were gone before Icould get up from housewares. What a day I had: I was demonstrating a high power vacuum cleaner-and it sucked a pillow out of the bedding department: Why'd you go so fast? BETTY BOOP I couldn't stand it another minute, Beverly. BEVERLY (over Betty's line. She never listens) I bet you couldn't take it another minute, huh, Betty? BETTY BOOP (muttering) I think I said that…..... (as the TRAIN ARRIVES) Come on.... ANOTHER ANGLE ON TRAIN AND BETTY AND BEVERLY as it stops and doors SLIDE OPEN and everyone starts pushing in past Betty and Beverly, shoving them aside, their footsteps thundering as they push and Betty and Beverly "bounce" and "bob"like corks on the ocean as Beverly keeps talking, not seeming to notice what's going on, and Betty tries to push a place for them in the crowd so they can get aboard. BEVERLY What's so hard to take is after a long day like we had, we only get to rest a couple hours and then we got to go to another job just to make ends meet: I was saying to Mitzi Kuskiasko only this afternoon, "Mitzi," I said.... During preceding, Betty sees she can't get into the train by the usual pushing and shoving , so she winds up with her purse and sends it flying out ahead of her where it BURSTS THROUGH passengers blocking the doorway, then Betty, hanging tight to her strings which are attached to her purse, grabs Beverly by the hand as the forward momentum of the purse PULLS TEEM BOTH through the passengers blocking the doors and INTO THE SUBWAY CAR where they POP out of sight through crowds in the doorway as the DOOR SLIDES SHUT and t he train pulls out as we CUT TO: INT. SUBWAY TUNNEL as the subway car carrying Betty hurtles along TOOTING HORN and WHOOSHING air through the underground space BEVERLY (V.O.) So, like I told Mitzi, "Mitz ……….. I get so tired working all day and half the night ………… CUT TO: INT. THE SUBWAY CAR- BETTY BOOP AND BEVERLY Betty Boop hangs from strap and half-listens to Beverly's chatterboxing as Mild Looking Professor moves in closer and closer, all the while pretending to be buried in his newspaper. As Beverly talks non-stop, Betty interjects a murmured comment here and there but she is used to Beverly's talk and really doesn't expect to be heard BEVERLY I mean, I know times are tough, but a girl wants a little fun,too, you know? You like fun, don't you, Betty? BETTY I wish I could sit down. My toes are in a coma. BEVERLY Sure you do. But you never want to double date with me and the Glick Brothers From Sheepshead Bay. I mean, I understand you;d prefer somebody a little more classy, but there's nothing wrong with the Glicks just because they work as clam shuckers.... During preceding, Mild Looking Professor has nudged up beside Betty and lowers his newspaper to give her a wink and a clenched teeth smile around his pipe. BETTY (airily) Do you mind? Betty PULLS PAPER BACK UP in front of Mild Looking Professor's face and shove it back in his face so that his PIPE STICKS OUT THROUGH NEWSPAPER and newspaper covers his head. He tips his hat without removing newspaper and walks OFF MILD LOOKING PROFESSOR Terribly sorry.... BEVERLY (has seen nothing and been talking throughout) Clam shuckers are some of your best people because they understand life. If you say okay, I'll call them and say we can go dancing together on Saturday if they aren't too busy. Saturday's a big crab day at their restaurant and you Wouldn’t believe what a crab can do to a person: But they're good dancers. The Glicks, not the crabs….. During preceding non-stop spiel, Betty keeps trying to get through and, as Beverly talks obliviously, Betty EXITS when train stops BETTY (trying to get through) No clam shuckers, Beverly……….Here's my stop, Beverly...see you tonight....Will you shut up, Beverly? I'm going …………….. (she EXITS) BEVERLY (as train pulls out) So what do you say, Betty, about double dating and...Betty? Where are you? Everybody in the subway car now turns to Beverly at once EVERYBODY Shut up, Beverly: On her reaction we CUT TO: EXT. A TENEMENT STREET ON THE LOWER EAST SIDE (ELEVATED RAILWAY IN THE BACKGROUND) We are looking down the street from a vantage point near a SUBWAY EXIT in the foreground so that we see the"street life" – STORE SIGNS in Hebrew, Chinese, Italian, English, etc. and a few PUSHCARTS with NEIGHBORHOOD CUSTOMERS, not many because we also see the SUN SET is beginning over the tenement rooflines casting long, autumn shadows and giving the street a golden glow. The "street life" is only visible for a brief beat in the background, however - we'll be getting to it in detail - but right now, we MOVE AROUND TO THE SUBWAY EXIT as a weary Betty Boop climbs up the stairs and onto the street as the WIND GUSTS SOME AUTUNN LEAVES past her blowing up her skirt for an instant. She pulls the skirt down, reacting with an exhausted sigh and slings her purse over her shoulder like a soldier might with his rifle after battle. She then surveys the scene and murumurs to herself BETTY BOOP Almost home ……….I hope I can make it down the block She inhales deeply, straighten up for strength, lets her purse slide off her shoulder into the "action" position and starts walking down the street, away from the camera, her "rear action" restored. During preceding, a RHYTHMIC, DRUM-BRUSH BEAT PLAYS UNDER and as Betty starts down her street we REVERSE TO: MR. SCHULTZ THE GERMAN BUTCHER SCHULTZ is sweeping the street in front of his butcher shop and THE SOUND OF HIS SWEEPING is the source of the rhythmic, drum-brush beat we have been hearing. Signs in his window read:"KNOCKWURST-5" "BRATWURST -4 " "SCHNITZEL -10W" etc. and there are chickens and hams hanging in the window. Schultz sweeps and looks up the street where he - and we - see the distant, tiny figure of Betty Boop coming down toward the camera swinging her purse and her hips. Another RHYTHMIC SCRAPING SOUND has now joined the sweeping sound and we will see what is causing that shortly. For now, Schultz sees Betty and reacts with a big smile SCHULTZ Ach, Betty coming home is: (looks over his shoulder toward camera, calls) Now comes Betty Boop: PAN TO MR. DI NATALE THE ITALIAN BAKER AT THE NEXT STORE DOWN THE BLOCK DI NATALE is using a scrub brush on his store window in which we see lots of bread and rolls, etc. THE SOUND OF SCRUBBING has created the second rhythmic sound to which a third, creaky CONCERTINA SOUND is now added from an as yet unseen source as Di Natale reacts to Schultz's call to look off in Betty's direction. Di Natale smiles and looks over his shoulder DI NATALE Its a da Boop-a girl! PAN TO MR WONG THE CHINESE LAUNDRY MAN AT NEXT STORE DOWN THE BLOCK MR. WONG is just closing the accordion metal folding gate in front of his shop, the gate is making the CONCERTINA SOUNDS to which a fourth rhythm is now added - a CLICKING, CLACKING SOUND from an as yet unseen source - as Wong also looks off toward Betty, smiles broadly and turns to look at tenement building stoop next door to him and several steps higher than the sidewalk he's standing on WONG Ah so! (calling) Betty home from work! PAN TO: THE TENEMENT STOOP NEXT TO WONG'S SHOP – THE "LADIES" The NEIGHBORHOOD LADIES are sitting on the stoop: MRS. SHAPIRO wears her hair in a bun and she is playing MahJong with MRS. RAVELLI who is younger and fatter as MRS. HOCHAUSER knits and rocks in an old rocker so that the CLICKING OF THE MAH JONG TILES AND KNITTING NEEDLES merges with the other rhythmic sounds. (The Ladies range from mildly slatternly to well-groomed in the Old Country manner and we may add to their number someone like MRS. RILEY who is shelling peas in a metal pan on her lap, getting another rhythm sound. (NOTE: This sequence of the neighbors reacting to Betty's arrival should flow swiftly, one percussive rhythm sound merging with the next as each neighbor reacts with pleasure to Betty's return home.) The Ladies look up the street and all smile and remark their approval in overlapping chatter MRS. SHAPIRO Such a nice girl: MRS. RAVELLI MRS. HOCHAUSER Salt-a of da oith! She looks so tired…. ANOTHER ANGLE - BETTY as she now strides up to Schultz who dries his hands on his apron and leans his broom against the wall, smiling broadly and nodding vigorously as she approaches, glad to see her SCHULTZ Good evening, Miss Betty. Would you be wanting something for your dinner today? BETTY BOOP Something tender, Mr. Schultz. I don't have the strength to chew. Schultz hops into his store and immediately back out with a CHICKEN in hand which he wraps as he hands it to Betty with a smile. SCHULTZ A nice chicken for you to enjoy! BETTY (reluctant to take it but clearly tempted) Chicken's kind of expensive………… SCHULTZ (pressing chicken into her hand) Ach, pay me when you can. Bei mir bist du schon...by me, Betty, you're all right! (SINGS) BEI MIR BIST DU SCHON PLEASE LET ME EXPLAIN BEI MIR BIST DU SCHON MEANS THAT YOU'RE GRAND.... etc. As Betty "dances" down the street, Schultz continues the song which is joined by Di Natale - who gives A LOAF OF BREAD TO BETTY as she passes his store - and Wong - who gives BETTY A PARCEL OF LAUNDRY as she passes his store - and the Ladies of the Stoop who add the contralto and soprano backup to the number as Betty "dances" along to the stoop to her building. ANGLE ON THE STOOP FEATURING BETTY as she is about to start up the stairs, she turns as she is called by FRENCHY - the newsdealer - from O.S. This comes just before the final chorus of the song FRENCHY (O.S.) Betty, cheri.... ON FRENCHY AT HIS SIDEWALK NEWS STAND FRENCHY wears beret, has cigarette dangling from lower lip,and uses a crutch -clearly a World War One survivor reminiscent of Jean Gabin, his voice gravelly. His news stand is festooned with magazines of the era and he riffles a stack of periodicals to get ANOTHER RHYTHM SOUND as he takes out a magazine and slips it under Betty's arm FRENCHY Your magazine, mamselle! BETTY Thank you, Mr. Frenchy.... She starts up steps of stoop and Frenchy admires her rear action F RENCHY: Formidable! BACK TO SCENE OF NEIGHBORS NOW GATHERED AROUND THE STOOP as they complete song as Betty goes INTO THE BUILDING, her arms and hands loaded with parcels, bread, laundry, etc. ALL (singing) BEI MIR GIST DU SCHON MEANS THAT YOUR MINE: CUT TO: INT. STAIRHALL OF TENEMENT - BETTY as she pauses at bottom of stairway and looks up through stairwell. HER P.O.V- THE STEEPLY RISING STACK OF STAIRS RESUME ON BETTY as she sighs and girds herself for the climb BETTY BOOP (muttering) One of these days I'll get a place with an elevator.... (she starts up the stairs) CUT TO: INT. BETTY BOOP'S APARTMENT PAN briefly to establish that apartment is typical Depression-working woman interior - tidy and neat but not at all elegant - one room apartment with kitchen along one wall near window through vhich we see that elevated tracks are on the same level as the room. END PAN on POLLY a parrot dozing on a perch opposite the front door as we HEAR the weary CLICKING OF BETTY'S HIGH HEELS and her muttered complaints as she comes up the stairs o.s. and approaches her apartment. BETTY (O.S.) My feet are burnin' up……what a climb ………… ON POLLY as Polly opens one eye and rotates it around, shrugging one wing to the side of its head as though cocking an ear at SOUND OF KEY IN THE LOCK and Betty's offscreen murmurings BETTY (O.S.) I'm gonna pass out…….. Polly wakes at once and jumps up and down in place on his perch, flapping his wings and squawking as he talks POLLY It's Betty! Hello, Betty! Hello, cutie! Polly wants a cracker! Yaaawk! ANGLE ON FRONT DOOR as a weary Betty almost falls in, closing door and leaning back against it with a fatigued sigh, arms at her sides letting packages slide to the floor as Polly FLIES INTO FRAME , hovering in front of her by beating his wings POLLY Feed Polly, Betty. Give a bird a break! Yaaaawk! BETTY I gotta get outta these shoes first….. Betty slumps back against the door, reaches down and pulls off her shoes with a LOUD SUCTION SOUND and PLOP as we CUT TO CLOSE SHOT- BETTY'S LITTLE FEET as they GLOW RED and PULSATE , SWELLING and then SHRINKING to normal as she waggles her tiny toes BETTY (V.O.) (ecstatic) Oooh……aaaaah……. RESUME IN APARTMENT as Betty moves followed by Polly flying after her. Betty drops bread, chicken on table, sets laundry on sideboard as she crosses, all the while getting out of her jacket, skirt, hat, blouse, each of which she drapes neatly in "odd" places - the jacket on a closet door-knob, the skirt crumpled meticulously and set on the radiator, the hat on top of a bookshelf, her blouse draped over a console radio, etc. As she does this, she mutters BETTY I'll feed you in a minute, Polly.... as soon as I get dinner on... I just have time for forty winks after supper before I got to go to work again……… Makin' a livin' these days is murder! POLLY (perching on chair back) These days, these days.... (like President Roosevelt in voice and gesture - Polly is an impressionist) "You have nothing to fear but fear itself and losing both your jobs.'" Yaaawk! Betty, now in panties and bra takes hangar from closet and stands to the right side of the room, posing with the hangar held up in a "ready" position as we HEAR RUMBLING APPROACH OF UNSEEN ELEVATED TRAIN BETTY Thanks, Polly, you're a barrel of laughs…… ANGLE THROUGH WINDOW ON APPROACHING ELEVATED TRAIN as it starts hurtling by moving from left to right. ON BETTY'S CLOTHES IN THE APARTMENT as the TRAIN MOVES PAST, the entire apartment - walls, furniture, wallpaper pattern, carpet, etc. - SHUDDERS and RIPPLES, MOVING IN THE DIRECTION OF TRAIN'S TRAVEL so that door on which jacket hangs SHAKES UP AND DOWN, dislodging jacket and moving it along floor with VIBRATING RIPPLES as the SKIRT UNCRUMPLES AND RIPPLES along radiator which is also RIPPLING. We FOLLOW"RIPPLING" travels of Betty's clothes as they move across the room from places on which Betty put them until they reach Betty's hanger where each item of clothing obediently PLOPS INTO PLACE as train EXITS and SHUDDERING, etc stops. Betty pays no attention to this action - she lives there and has mastered it as a matter of course. She puts hanger on which her outfit now resides in closet and pulls on a skimpy kimono then quickly shoves PILE OF PARCELS into an odd-shaped pile in a corner of the room, followed by Polly, flapping and hovering as he does more impressions. POLLY Polly's still starving, Betty! (like Clark Gable) Frankly, my dear, I need a cracker: Yaaawwwk! (ala Edward G. Robinson) Now listen sister, I want a cracker and I want it now, see? Nyaah, nyaah! Yawwk! During Polly's pleas, Betty stacks dishes on sink, puts napkin and silverware on the radiator and, stepping into high heeled fluffy slippers, holds a cookpot out in one hand. ANGLE THROUGH WINDOW ON ELEVATED TRAIN COMING This time el is coming from right to left RESUME IN APARTMENT as the TRAIN SHUDDERS PAST, room shudders and RIPPLES sending stack ofBetty's parcels UNDULATING ACROSS THE ROOM, the chicken UNWRAPPING ITSELF and THE CHICKEN SHUDDERING ACROSS TABLE and into the pot which Betty puts on the stove as DISHES, SILVERWARE, etc. ARE MOVED ACROSS ROOM and into RIGHTFUL PLACES on table, in drawers, etc. BY TRAIN CAUSED "WAVE"MOTION. Then TRAIN EXITS and Betty sighs again, gives Polly a large CRACKER which Polly starts chomping happily while sitting on his perch. Betty takes this opportunity to pick up her new magazine. BETTY (to Polly, sighing) Life sure ain't very glamourous some times .... I just know I could change everything real fast if I could only meet the right man: (looks at magazine cover longingly) ANOTHER ANGLE FEATURING BETTY AND MAGAZINE COVER Cover shows WALDO VAN LAVISH, a handsome society gentleman with a cleft-chin and center parted patent leather hair. He is posing at a table at the Stork Club where he is flanked by two bored and beautifully "debutantes" - one on each arm. The one on his left is MIMSEY, red -haired, high cheekbones, the demeanor and look of Katherine Hepburn circa 1939. The one on his right is TRACY, blonde, heavy-lidded, ala vintage Talulah Bankhead or Bette Davis. The cover legend reads "WALDO VAN LAVISH AND HIS DEBUTANTE TRAMPS" BETTY (continuing, to magazine cover as she CUTS OUT WALDO'S PICTURE) Oh, Mr. Van Lavish, I know you'd respond to me if we ever met. I have so much to offer a man of your background! Betty sticks Waldo's picture up on the wall where she has created a "Shrine" of Waldo Van Lavish photographs, newspaper clippings, etc. She steps back and admires her Waldo memorabilia BETTY (continuing, to herself) I can see the headlines now ………. Mr. and Mrs. Waldo Van Lavish are the toast of cafe society.... Mrs. Van Lavish is the former Betty Boop! POLLY (ala Jack Benny) Well! I'll believe it when I see it! Yawwwk! FOLLOW BETTY as she turns RADIO ON and DROPS IRONING BOARD into position by opening ironing closet, getting iron and costume ready for pressing as SOFT MUSIC COMES UP AND UNDER from radio. BETTY You're right, Polly. I guess I'm just dreamin…… As Betty irons, she HUMS along with MUSIC from radio which is "SEPTEMBER IN THE RAIN" or "I FOUND A MILLION DOLLAR BABY TN A FIVE AND TEN CENT STORE" being performed by period vocalists. As she HUMS and irons, Polly WHISTLES along, both of them swaying with the music. ANGLE FEATURING THE RADIO as RADIO WAVES emanate from the speaker and GLIDE ACROSS THE ROOM becoming hands which embrace Betty and LIFT HER "IMAGINATION SELF" out of her workaday -ironing self and carry her over to wall calendar on which there is a large PHOTOGRAPH OF A WOOLWORTH'S FIVE AND TEN CENT STORE. ON THE CALENDAR PICTURE as RADIO WAVES deposit Betty INTO THE PICTURE as a RAINSTORM STARTS and Betty runs along street, buys umbrella from an UMBRELLA SELLER and gets wet as a CAR GOES BY. The car is an enormously long "Plutocrat" special roadster and as Betty ducks under an awning for cover from the rain, the driver of the car gets out. It is WALDO VAN LAVISH and he looks at Betty who looks at him - a sudden racing of the heart and widening of the eyes - then Waldo bows to Betty, removes his polo coat and puts it over her shoulders to protect her from the rain. Waldo then ushers Betty through the rain to his car and throws open the door, Betty starts to get in, looks inside and reacts HER P.O.V. - THE INTERIOR OF WALDO'S CAR Mimsey and Tracy are seated inside and looking at her with stone-faced jealousy ON BETTY AND WALDO as she shakes her head, refusing his ride and giving him back his polo coat. She starts to walk off back into the rain but Waldo stops her and goes to his car door, imperiously gesturing for the Debutante Tramps - Mimsey and Tracy - to get out ON MIMSEY AND TRACY as they get out of car and are instantly soaked by the storm ON BETTY AND WALDO as Betty demurely bats eyelashes at Waldo who gallantly bows and sweeps her into his car, driving off in a SHOWER OF SPRAY from his wheels, the spray soaking Mimsey and Tracy as we CUT TO WALDO AND BETTY in the car, leaning close together lovingly, dreamily. (NOTE: The MUSIC has continued under during preceding in synch with the action in Betty's daydream but now there is a sudden UNMUSICAL CHORD as the dream comes apart) ANGLE ON CALENDAR as Betty's imagination self falls out of picture and Radio Waves DISSOLVE IN THE AIR and we return on BETTY BOOP AT IRONING BOARD as her reverie is shattered by SOUND of ICE MAN CALLING O.S. His call is melodic and his voice is a clear tenor ICE MAN (FREDDIE) (O.S.) Ice! I have Ice! Ice Man! Betty shakes off her day dreaming and runs to the window, looking out and down HER P.O.V. -THE STREET BELOW AND FREDDIE THE ICEMAN The sun is almost set now and some street lights have come on as FREDDIE, young, strong, handsome and broadshouldered, walks alongside horsedrawn ICE WAGON calling up. He looks up at Betty reacts FREDDIE: Betty! ON FREDDY' as he SINGS , the song is :"I ONLY HAVE EYES FOR YOU" FREDDIE: ARE THE STARS OUT TONIGHT I DON'T KNOW IF IT'S CLOUDLY OR BRIGHT 'CAUSE I ONLY HAVE ICE, FOR YOU, BETTY………… CHANGE ANGLE - LOOKING UP TO BETTY ON HER FIRE ESCAPE FROM FREDDY AT HIS WAGON ON THE STREET BETTY I could use a chunk, Freddie... ON FREDDIE as he uses tongs and grabs a huge BLOCK OF ICE from wagon FREDDIE Your wish is my thrill! (hefting huge chunk on his shoulder he runs up stoop and into building. MUSIC of "Only Have Eyes" continuing under), INT. STAIRHALL OF THE BUILDING - HIS P.O.V. LOOKING UP, UP, THE STAIR WELL as he starts truding up FREDDIE CLIMBING THE STAIRS as ICE CHUNK STARTS TO MELT ANOTHER PART OF THE CLIMB - FREDDIE AND THE ICE as ICE MELTS FURTHER, getting smaller and smaller FREDDIE- HIGHER ON THE STAIRS as ICE GETS EVEN SMALLER INT. BETTY'S APARTMENT as there is a KNOCK at the door which BENDS DOOR from its force as Betty instantly opens the door as she hears Freddie O.S. FREDDIE (O.S.) Your ice, Betty.... ON FREDDIE AND BETTY as Freddie MITERS with a LARGE SIZE ICE CUBE now in his tongs over his shoulder. Betty holds out a GLASS OF 'SODA as Freddie drops ice cube in her glass with a flourish and the soda FIZZES. FREDDIE I hope you enjoy it as much as I enjoyed delivering it! BETTY (sips soda, goes to set it on table) Ummmmm………… What's a chicken dinner without a cold glass of seltzer to wash it down? Thanks, Freddie. ON POLLY who is looking through the magazine from which Betty cut Waldo's picture . He looks up and greets Freddie without much interest POLLY Thanks, Freddie, thanks, Freddie. Big deal: Yawwwk! ON BETTY AND FREDDIE AT THE TABLE as Betty sets glass down, Freddie puts his large hand over her small hand very delicately and Betty looks up into his eyes. Freddie is somewhat stiff and formal but he radiates decency and love for her like the late John Garfield might have. (In fact, maybe Freddie looks like John Garfield.) FREDDIE : Betty.... BETTY: Freddie……? FREDDIE: May I take you out to a movie on your day off? Afterwards, we can take a refreshing ride on the ferry boat. FREDDIE (CONT'D) (as Betty looks away from him he leans over to maintain eye contact) I won't keep you out late. I have a law school class at midnight. ON POLLY still going through magazine, looks up briefly POLLY Law school, law school.... (then,does a Bogart) "I could use a good mouthpiece, sweetheart.” Yawwwwk! RESUME ON BETTY AND FREDDIE BETTY Quiet, Polly! (kindly, to Freddie) You're a nice boy, Freddie, but I'm really looking for a man of culture and wealth. FREDDIE (manly to the last) He'll be darn lucky to get you, Betty. BETTY Yes, he will. (goes to door, opens it) Now, if you'll excuse me, I have to get to work this evening.... FREDDIE (as he EXITS) Of course. Forgive me for detaining you and thank you, for taking my ice. Betty closes the door, leans against it and sighs as MUSIC of "I Only Have Eyes for You" again comes UP AND UNDER. Betty looks to 'shrine" of Waldo's pictures and rolls her eyes Heavenward BETTY: Oh, Waldo……. CUT TO: EXT. THE STREET OUTSIDE BETTY'S BUILDING - FREDDIE as he looks up at her fire escape and window and sighs FREDDIE: Oh, Betty…… CUT TO: POLLY as he suddenly does a take at page in magazine he's just turned to. HIS P.O.V.- THE MAGAZINE there is a PICTURE of a LADY PARROT in languid pose POLLY: Oh, baby! ON BETTY AND POLLY as Betty has her back to Polly while she looks at pictures of Waldo and Polly looks avidly at picture of Lady ,both SINGING BETTY AND POLLY (in harmony) ...I ONLY HAVE EYES FOR YOU, DEAR THE MOON MAY BE HIGH ON FREDDIE IN STREET LOOKING UP TO BETTY'S APARTMENT WINDOW F REDD IE (SINGING in harmony with Betty and Polly) BUT I CAN'T SEE A THING IN THE SKY 'CAUSE I ONLY HAVE EYES FOR YOU... INTERCUT FROM BETTY AND POLLY TO FREDDIE AS REQUIRED FOR "TRIO" BETTY,POLLY AND FREDDIE: WHO KNOWS, DEAR, IF WE'RE IN A GARDEN? OR IN SOME CROWDED RENDEZVOUS. YOU ARE HERE, SO AM I MAYBE MILLIONS OF PEOPLE GO BY BUT THEY ALL DISAPPEAR FROM VIEW BETTY AND POLLY AND I ONLY HAVE EYES………FOR YOU ON FREDDIE IN STREET- IT IS NOW NIGHT, STREET LIGHTS COME ON FREDDIE (SINGS) FOR YOU………… He turns and walks away down the street, receding into the distance as he crosses pools of light from street lamps, calling, "ICE: I HAVE ICE," in his plaintive tenor voice as we FADE OUT FADE IN EXT. THE CLUB BUBBLES - NIGHT as SWING MUSIC such as Goodmanesque version of "Don't Be That Way" comes up and under we are on CLOSE SHOT- NEON CHAMPAGNE CORK IN NEON CHAMPAGNE BOTTLE as NEON CORK POPS out and is swirled UP IN CONTINUOUSLY RISING "STREAM" OF LIGHT BULB CHAMPAGNE BUBBLES as we PULL BACK TO M.S. THE CLUB BUBBLES- ESTABLISHING to show that it is a basement club whose doorway is framed in NEON CHAMPAGNE BOTTLES and that the neon corks POP AND RISE UP NEON AND LIGHT BULB CHAMPAGNE "STREAM" to the roof where "stream""FILLS NEON CHAMPAGNE GLASSES. The club sign, flanked by "streams" of champagne, bears the NEON AND FLASHING BULB legend " CLUB BUBBLES" and we PAN along sign to lettering at the bottom which reads "MISCHA BUBBLES, PROP." We then continue PAN down to the doorway and MISCHA BUBBLES MISCHA is an overweight, bear-like "Crazy Russian" in a tuxedo and he has the ebullient, lovable nature and appearance of, say, the late S.Z. Szakall. No matter whether the ARRIVING PATRONS he greets ignore him or nod to him, Mischa keeps a running barrage of smiling "Good evenings," etc. going and he punctuates his professional welcoming activities with muttered comments on life and circumstance in general. A PLACARD advertising the Club's entertainment featuring Betty Boop is beside Mischa but we will get back to that shortly. MISCHA Good evening...welcome to the Club Bubbles...I'm Bubbles: Nice to see you...okay, don't say hello.... DURING PRECEDING WE CHANGE ANGLE to show TAXIS and LIMOS pulling up, discharging BORED SOCIALITES IN DINNER DRESS who move past Mischa into the club . An OVERSTUFFED SOCIETY MATRON waddles past MISCHA (continuing) Make yourselves at home ……….Nice crowd. Maybe tonight I make a living.... You,'re looking lovely tonight... (to Society Matron, then, as she EXITS into club) For a salami (to new arrivals – a SKINNY DEBUTANTE and her DRUNKEN ESCORT as Skinny Deb stops and points to show placard) Yes, how do you do? ANGLE FEATURING BETTY BOOP SHOW PLACARD , MISCHA AND THE COUPLE Placard shows Betty in front of Rockette size chorus line and signs reads "EXTRAVAGANZA: BIG, ENORMOUS SHOW: STUPENDOUS:" SKINNY DEBUTANTE (down her nose to Mischa) Just how large is this show? MISCHA How large? It's gi….!.enor...! supercolo...! Lady, its got a cast of thous...hundre....Listen, who's counting: ...Hello, good evening, 'Bon Soir.... As Mischa is "explaining" the show, the Drunken Escort watches Neon Cork Pop and Champagne light "stream" RISE and he tries to drink it, catching his mouth on a "RISING" BULB IN THE STREAM SO HE STARTS TO BE CARRIED UP THE SIGN but Skinny Debutante drags him down and with her into the club as Mischa continues to greet arrivals and we CUT TO: INT. THE CLUB BUBBLES with a crowded BAR at which we see a BORED BUT BUSY BARTENDER who makes assembly line martinis, popping olives into martini glasses which move by on CONVEYOR BELT BAR TOP, then SLOSHES GIN into moving glasses behind his back and then USES ATOMIZER MARKED"VERMOUTH"just before glasses ride off belt into hands of waiting BARFLIES. PAN on to CROWDED DANCE FLOOR where Society Couples -some of whom we may have seen arrive - dance to MUSIC which has been playing throughout and is now heard more loudly as we CONTINUE PAN to the COMBO ON SMALL BANDSTAND - Combo is trio of BLACK MUSICIANS, the PIANO MAN playing, singing in an Ink Spots falsetto to the music which may now be something like "Deep Purple," or "Honeysuckle Rose." (Piano Man may be a Cab Calloway or Fats Waller type - warm, charismatic but not stereotypical Black in any regard) Continue PAN or intermix establishing shots with CUTS showing HURRYING WAITERS in their tuxedos , Society Patrons SMOKING WITH LONG, LONG CIGARETTE HOLDERS so when a cigarette is lit it's not clear who's smoking it until we CLOSE IN. Tablecloths are black and white checkered, by the way. END PAN ON BEVERLY - NOW WORKING AS A CIGARETTE GIRL and FOLLOW HER as she moves through the club toward Backstage area, trying to sell her wares which she carries on a tray attached by a cord around her neck. Her costume is very skimpy and her clunky shoes even clunkier, with black bows for evening. BEVERLY (coughing, hacking as clouds of SMOKE SPURT UP around her) Ci -(cough)-gars...Ciga- (cough,hack) - rettes...tobac-(cough, cough,wheeze)-co! Ci-(cough,cough,cough)...Ciga.... (hack, wheeze, hack)...ettes.... as she moves past sign reading BACKSTAGE- NO ADMITTANCE we CUT TO: BACKSTAGE AREA- DRESSING ROOM - BETTY Betty is in bra and panties and getting made up and into net stockings, etc. as Beverly ENTERS, fanning the air ahead of her, still coughing BEVERLY It looks like a... (hack,cough) ... good crowd tonight, Betty...Maybe Mr. Bubbles will take in enough money to pay us for a change... (cough, cough, cough) BETTY (dressing, putting on feathered headdress or similar) I hope so! Nobody's seen a dime around here for weeks………….. ANOTHER ANGLE -DOORWAY as Mischa ENTERS, rubbing hands together, all smiles and comes over to Betty.(By the way, Mischa has a Russian accent, naturally) MISCHA Betty! Celebration: Is such a fantastic crowd tonight. They all come to see you in the big show, so give ' great performance then everybody happy and Uncle Mischa has enough money to pay back wages: (sees Beverly, shoos her out) Nobody buying smokes back here, Beverly: Outside. Mingle..mingle... BEVERLY I'm mingling... (to Betty) Break a leg, Betty! (she EXITS coughing) RESUME ON BETTY AT MIRROR WITH MISCHA BESIDE HER as Betty puts on eye shadow and combs long eyelashes, Mischa talks and watches MISCHA You and everybody else very nice to work on the cuff. But, do this show good and I put us all on Izzy Street! (gives her avuncular kiss on the cheek) BETTY (smiles, chucks his cheek) Don't worry,Uncle Mischa Bubbles. Me and the rest of the girls'll dance or hearts out for you: (she resumes making up, now doing lipstick) MISCHA What "rest of girls?" There are no more "rest!" Everybody quit! You got to do show youself, Betty! BETTY (shocked, she squashes lipstick on her lips) Huh? JAllY INTRO MUSIC UP O.S. Mischa hastily pins little cape on Betty and hustles her toward the door MISCHA Now is entrance music, Betty! Your cue....You donut do good show, nobody pays money, I lose club and kill myself! (blows her big kiss) Be great, my little Boop-litchka! (prays a beat, then EXITS) ON BETTY as MUSIC plays more insistently for her entrance BETTY (reflecting) The folks're expecting a chorus.... She looks around and stops, then reacts as she sees a COAT RACK ON WHICH HANG FOUR (or six) CHORINE COSTUMES. Betty runs between the costumes so that two (or three) costumes are on either side of her and then she quickly tosses a wig, earrings, halter top, stickings and high heeled shoes onto each costume so they resemble "limp" and faceless dancers. She then quickly slips GARTERS up her legs, attaching stocking legs of "limp" dancers to her. Then she hops up, DISCONNECTING HORIZONTAL CROSSBAR from.. vertical supports of coat rack leaving her a one-woman chorus line. She picks up MUSIC CUE and starts off TAPPING and kicking as we CUT TO: INT. THE CLUB -FEATURING THE STAGE as Betty dances ON with coat-rack chorus, tapping away, kicking and SINGING , say something like "Jeepers Creepers" or " A Tisket a Tasket"INTERCUT FOR REACTIONS TO: A "RINGSIDE" TABLE where Skinny Debutante and Drunken Escort watch and applaud SKINNY DEBUTANTE How droll! Isn't she good, Amory? DRUNKEN ESCORT (AMORY) (sozzled,raises glass in toast to Betty) To a great artiste……………! THE PIANO MAN as he plays and laughs, giving Betty the thumbs up sign TO MISCHA BACKSTAGE as he watches show onstage, he is DANCING TO THE MUSIC, doing happy, Russian Cossack moves to the same tune. ONSTAGE- BETTY as the number progresses. Here, the Piano Man comes on in turban and Sultan outfit over his band outfit. He is SINGING an Arabian flavored reprise of the intro to the song in which he,perhaps, tells the story of a Little Harem Girl who tried to escape. Betty then becomes the Little Harem Girl, dispensing with the coat-rack chorus line, moving about the stage on which a HAREM BACKDROP DESCENDS with LARGE OIL JARS AIA ALI BABA moving in from the side of the stage. And as Betty tries to "escape", the MUSIC OF"JEEPERS CREEPERS" is reprised with HUGE EYES rising up from oil jars, walls, etc. watching the would be runaway harem girl( Betty) as she tries to get away while doing the song. (NOTE: This "Jeepers Creepers" number may also be: A JEANETTE MACDONALD -NELSON EDDY "Indian Love Call" number in which the Piano Man does Nelson Eddy, the Canadian Mountie in a cutout canoe with Betty as the Indian Maiden. Or, it might be a sentimental "Chapel in the Moonlight" number where Betty is the innocent girl in white- (South of the Border" would also work) - who is mistreated by a worthless man but prays to be reunited one day.) DURING THE NUMBER- which the audience loves - we INTERCUT TO; UNCLE MISCHA -BASKSTAGE as he is rubbing his hands, smiling, enjoying the show ANOTHER ANGLE as a GUST OF WIND BLOWS IN carrying autumn leaves and news-paper scraps which hit Mischa in the face. Angrily, he pulls scraps away and looks off MISCHA Close the door! You don't see there's a show going on? (starts toward unseen open door, stops, reacts) ON MISCHA as SHADOWS RISE UP and loom over him, causing him to shrink away at what he sees HIS P.O.V.- THE OPEN STAGE DOOR Three FIGURES are in the doorway in silhouette then they move forward toward the light ON MISCHA MISCHA (cowering): Johnny Throat! ON THE CENTRAL OF TIC THREE FIGURES - JOHNNY THROAT He is shorter than Mischa and than the figures on either side of him but we don! t see his "assistant hoods" yet - just their forms flanking him . JOH Y THROAT is a mobster whose face is totally devoid of color. He wears a black tuxedo, top coat, white shirt, white carnation and a long, long, white silk scarf wound around and around his neck and trailing on the ground. His face is a cross between Cagney and Bogart and he is afflicted with a medley of tics, twitches and grimaces as he speaks. But MEN HE SPEAKS, no words are discernable, only a hoarse, raspy, scratchy array of sounds like Marlon Brando's Godfather with triple pneumonia. JOHNNY THROAT (brandishing an angry finger at Mischa) Chrarrrgh agghhh wuggh fahhhr darrr: WIDEN ANGLE TO THE RIGHT OF JOHNNY THROAT TO INCLUDE CHUCKLES CHUCKLES is a medium-sized hood, weasel-faced and pshycopathic with the whiteness of his complexion tinged with a sickly chartreuse -very pale but "greenish". He chuckles the way Richard Widmark did as Tommy Udo in the Victor Mature schlock-crime classic, "Kiss of Death." Chuckles always translates for Johnny the instant he has spoken. Like now: CHUCKLES Mr. Throat wants da moolah you owe him, Russian. But since you obviously don't got any, he's gonna take it outta your skin! (chuckles nastily, then nods coldly to other hood) Grab the bum, Punchy! ANOTHER ANGLE FEATURING PUNCHY- THE HOOD ON JOHNNY'S OTHER SIDE PUNCHY is a huge, stupid ex-pug with cauliflower ears and an eggplant brain. He has the punchy fighter's habit of hitting himself in the nose and head several rapid times before he does anything, grunting every time he clips himself. Then he picks Mischa up by the back of his coat and holds him in air, feet churning, frightened and pleading before Johnny Throat. PUNCHY: Unh ngh uhn.... MISCHA Please, Mr. Throat...you really don't want to rubbing Mischa out for a couple measly dollars, do you? Money isn't that important.... ON JOHNNY THROAT AND MISCHA JOHNNY THROAT (furious, to Mischa) Arhh grhhh harggg wuggh hagh argh… Chuckles STCIKS HIS HEAD INTO FRAME for instant, almost simultaneous translation every time Johnny Throat “speaks.” PULLING DOWN OUT OF FRAME to let Throat make next comment . POPPING BACK UP INTO FRAME to translate, etc. CHUCKLES A couple guys didn't want to pay the ten bucks they owed me.... JOHNNY THROAT (as he unwinds scarf) Yargh wargh gurgggh hurghhh CHUCKLES So they decided to...cut my throat! JOHNNY THROAT (bares HORIZONTAL RED SLASH on throat by removing scarf) Yaghh hrghh frgghh ghhhhbbh: CHUCKLE S But I ignored it and got my money and their necks! JOHNNY THROAT Wrrrggghhhgrghhh! (REWINDS SCARF with a flick that sends it COILING AROUND HIS NECK and Mischa's so that Mischa has to pull free at last instant) CHUCKLES (leaning in to Mischa with a shark-like grin) If I didn't let dose guys off the hook, what makes ya think I'm gonna let you stiff me? (he chuckles nastily, then instantly unsmiling, nods to Punchy) BUNCHY, MISCHA AND CHUCKLES as Mischa kicks and struggles in Punchy's grasp as the hoods start carrying him off. ON JOHNNY THROAT as he looks off, reacts and holds hand up toward the departing hoods and Mischa JOHNNY THROAT: Yaaaaarghhhh! ON PUNCHY, MISCHA AND CHUCKLES as Chuckles motions to Punchy CHUCKLES Hold it….. (trots over to' Johnny Throat) ON JOHNNY THROAT AND CHUCIQES as Mischa is brought up by Punchy in background and Johnny “talks" out of side of his mouth to Chuckles while looking off toward the stage with rabid interest JOHNNY THROAT Yigh raggh fruuu hurgh garfff waaa a! CHUCKLES (nodding, evilly smiling, translating to Mischa) Mr. Throat says maybe he won't have to put your lights out after all on account of because there's somethin' about your club he likes. JOHNNY THROAT (very emotional): Grafhhh hgrfff fruuuufffff:! CHUCKLES: Somethin' he likes a lot!!! JOHNNYS P.O.V. - BETTY DANCING ON STAGE as Betty dances, kicks, shakes, shimmies and sings to MUSIC we INTERCUT TO Johnny Throat whose EYES BULGE, LEER, ADVANCE IN PURSUIT of his vision and we also CLOSE IN, ZOOM, ZOOM, ZOOM to Betty's legs, knees, ankles, body... RESUME ON MISCHA, JOHNNY, CHUCKLES AND PUNCHY as they move OFF, Punchy carrying Mischa as Johhny Tbroat keeps "talking",looking back at Betty CHUCKLES Mr. Throat says maybe we can come to an arrangement... like, for instance, this club will have a new owner and you, Russian, will retain the use of your face CUT TO: THE STAGE - BETTY as number ends and Betty takes her bows,dancing OFF to APPLAUSE, CHEERS which instantly die down as club "life" resumes - couples chatting, drinking, dancing, waiters rushing, combo playing period dance tune, etc. ON "RINGSIDE" TABLE as Skinny Debutante politely applauds for a clap or two then looks to her even more boiled Escort as FAT WAITER serves next table. SKINNY DEBUTANTE That was truly shallow, wasn't it, Amory? As Waiter bends over to serve next table, Drunken Escort raises glass so that he appears to be toasting the Waiter's rear end. DRUNKEN ESCORT: To a great artiste BACKSTAGE- BETTY as she wearily comes off from her number, breathing hard, fanning herself, knees knocked as she leans against wall just as Beverly RUNS IN, clunky heels clattering, cigars and cigarettes bouncing in her tray as she desperately blows away CLOUD OF CIGAR SMOKE that FOLLOWS HER FACE BEVERLY Betty... (cough, hack) . . . .You 'll‑ (cough) -never guess who - (cough, cough) - just came into the clu- (cough) -clu-(cough) – club! Into the club. BETTY (wearily starts for dressing room, feet dragging with fatigue) I don't care. I got three more shows to do and I'm too pooped to Boop! BEVERLY (puffs cheeks, BLOWS SMOKE COULD AWAY from her face so she can talk without coughing and she talks in a rush) It's your dreamboat you're so crazy about. He's here! Waldo Van Lavish! BETTY (instantly alert, eyes wide and aglow) Waldo here? Beverly coughing again because cloud is back, grabs Betty by the arm and whisks her to CURTAIN, forcing her to peek through hole in the curtain as she points. BEVERLY: See? HER P.O.V.- WALDO AND THE DEBUTANTE TRAMPS, MIMSEY AND TRACY Tracy sits stonily on one side of a bored looking Waldo, one slim arm draped over his shoulder while Mimsey, smoking in tiny, Bette Davis's style puffs on his other side has her arm linked through his. Waldo sips a martini then smiles his Cary Grantish smile to the Debs WALDO (a Cary Grantish voice) Having fun? MIMSEY: Boring. Tres boring! TRACY Tacky, tacky, tacky, darling. BETTY (V.0.) Waldo Van Lavish and his Debutante Tramps: RESUME ON BETTY AND BEVERLY BACKSTAGE as Betty grabs Beverly, spilling her cigars and pulls her out from under cloud of smoke BETTY Tell the Piano Man I wanna do my solo now; Hurry! (as Beverly RUNS OFF, Betty mutters to herself) It must be destiny! As she mutters, Betty slips out of costume and into a slinky, black evening gown from a rack. There is a corsage in the cleavage of the gown. Betty tears it out, poses seductively, preparing herself and again mutters to herself. BETTY Oh,Waldo, how I've dreamed of this moment.... CUT TO: ANGLE ON PIANO MAN AND BEVERLY as Beverly whispers to him and he nods and we go CLOSE ON PIANO MAN as he motions combo to stop playing and Cues DRUMMER who PLAYS FLOURISH and RIMSHOT . Piano Man leans over to microphone, announces PIANO MAN Ladies and gentlemen, the Club Bubbles is proud to present our lovely star,the bewitching, Miss Betty Boop: He points off as INTRO MUSIC, DRUMROLL, SPOTLIGHT play at center-stage and MUSIC of "I WANNA BE LOVED BY YOU" comes up as Betty Boop is suddenly "DISCOVERED" BY SPOTLIGHT, standing on edge of dance floor near Waldo's table. She will not start singing on cue until we first go to Waldo CN WALDO AND DEB TRAMPS as Mimsey yawns, and tugs at Waldo's lapel TRACY Let's leave, darling. I'm so terribly bored: WALDO (starts to rise, turns, does take, big smile as he looks off) A moment, Tracy. This looks………… interesting! (sits again, watching Betty) ANGLE ON BETTY AND WALDO'S TABLE as Betty starts to sing and plays the song strictly to Waldo, moving around table, then somehow moving between the table and Tracy so that Tracy's chair is moved and she finds herself seated with the Skinny Debutante and the Drunken Escort. Betty continues song, moving around the obviously fascinated Waldo - he murmurs Cary Grantish comments such as "Lovely.... delightful...My,my" to Betty, smiling broadly as she sings to him. In getting very close beside Waldo as her sing ends, Betty tips back Mimsey's chair so Mimsey goes over backwards, feet in the air and ends up under adjacent table. BETTY (SINGING) I WANNA BE LOVED BY YOU BY YOU AND NOBODY ELSE WILL DO I WANNA BE LOVED BY YOU A-LO-O-ONE BOOP BOOP A DOOPY DOOP BE BOOP A DCOP HIGH-ER I COULDN'T AS-PIKE THAN JUST THE DE-SIRE TO MAKE YOU MY OWN BOOP BOOP A DOOPY DOOP BOOP BOOP A DOOP I WANNA BE LOVED BY YOU, etc. SONG ENDS with Betty singing final "BOOP BOOP A DCOP" into Waldo's smiling face and as APPLAUSE rises and Betty looks at him with unbridled,loving adoration, Waldo rises to put on his polo coat while Betty still clings to his lapel, her feet off the floor. WALDO Charming! That was charming! I don't suppose you'd like to go out with me tomorrow, would you? Just for a lark BETTY (ecstatic) You don't suppose? Are you nuts? Yes. Yes: Yes, my Waldo! Waldo is now joined by the Deb Tramps who both glower at Betty between cat-slit eyes, but Betty only has eyes for Waldo who is still smiling at her and speaking to her WALDO Fine: I'll see you at your place . around noonish. Don't be late. I'm terribly impatient with common people! He EXITS with Mimsey and Tracy who look back at Betty and HISS ON BETTY as she looks Heavenward and clutches her heart ,.batting her lashes in rapture BETTY Oh, real life is so much better than the movies: I gotta tell Beverly.... Betty turns completely around, walking on air , and runs smack into CHUCKLES AND PUNCHY as they grab her by each arm and carry her off as she struggles to move ahead in direction she is facing while they carry her where they want to go - the opposite direction. All the while she kicks, elbows, knees them and angrily complains as they go OFF BETTY Hey: Whatcha think you're doin'? Let me go, ya weasel!... Put me down, ya crumb bum……Cut it out! CUT TO: BACKSTAGE - A CRINGING, SWEATING MISCHA AND JOHNNY THROAT as Chuckles and Punchy deposit Betty in front of Mischa who is using handkerchief profusely. He looks pained and frightened. CHUCKLES (to Betty) Your ex-boss wants to talk to you, toots. Listen good! Betty glares at Chuckles and Punchy, shakes loose from the last vestiges of their grasp and then looks to Mischa with concern. BETTY Uncle Mischa Bubbles - what's wrong? MISCHA The new owner of my club….. (sidelong look and nod toward Johnny Throat) Mr. Johnny Throat...he says you want you should keep your job, then you must go out with him MISCHA (CONTINUED) for late supper…..Without the supper. (hates himself for this, looks away in shame and tears) Is terrible...terrible.... ON JOHNNY THROAT as he leans over to Betty with a shark-like grin JOHNNY THROAT Grawfgh hrghh frugh? CHUCKLES (leaning INTO FRAME between Betty and Johnny with a chuckle) Mr. Throat wants to know what the little lady says? BETTY Oh, he does does he? JOHNNY THROAT CHUCKLES (with leer and nod) (simultaneous translation) Warghh ghuuuuff! Yeah! BETTY Okay: The "little lady" says…………. (loudly in Johnny's ear) Drop dead! Betty grabs her string purse from garment rack and in a wide swinging motion like the saber move called "The Bloody Eight? Betty clobbers Chuckles and then Punchy with her purse which returns to her side where she keeps it bouncing in place at the end of the strings like it was a lethal motorized device on idle. She leans toward Johnny Throat menacingly, purse at the ready, unafraid and belligerent. In the background, Mischa is thrilled but fearful for her. Johnny Throat is stunned and impressed. BETTY (continuing, to Johnny) I got a sock in my purse for you, too, Mr. Throat! See, I am an American girl and I go out with whosoever I choose and no two-bit hoodlum is gonna push me around! (sticks nose in the air, now very ladylike) I bid you good evening: (she walks OFF with lots of rear action and purse swinging) ON CHUCKLES AND PUNCHY who roar and growl and reach for guns in their coats, ready to kill Betty but Johnny Throat raises a big hand to stop them JOHNNY THROAT Warrrggghhh! Yaggh harggh varghhh gruuuugh raph hurph! ANOTHER ANGLE INCLUDING MISHCA to whom Chuckles translates as Mischa tries to stand between Betty and the hoods with their guns CHUCKLES Don't worry - the boss likes her moxie: He says he'll give her a little rope.... but when the time comes her wants her……….then that's it. As Chuckles says this, he grabs STAGE ROPE at pin rail and when he says..."wants her...then that's it:" he PULLS STAGE ROPE sharply and it TEARS LOOSE FROM SANDBAG in the fly space so that SANDBAG PLUMMETS DOWN, CRASHING THROUGH CART OF RESTAURANT DISHES next to Mischa who almost jumps out of his skin in fright. JOHNNY THROAT (looking off, leering and confident) Fraggh brughhhhh yagggh! ON JOHNNY'S P.O.V.- BETTY still swinging purse and hips as she GOES OFF CHUCKLES (V.0.) When the boss wants her, she's a gone goose! (he chuckles evilly) SLOW FADE OUT: FADE IN EXT. BETTY'S BUILDING - NOON THE NEXT DAY The Ladies are on the stoop and other neighbors -Schultz the Butcher, Di Natale the baker, Mr. Wong, etc. are going about their business but react as Waldo's long, LONG ROADSTER sweeps up in front of Betty's Building in a cloud of dust. Waldo stands and hits his MUSICAL CAR HORN and we INTERCUT TO NEIGHBORS FOR REACTIONS which are muffled but impressed at both roadster and Waldo MRS. SHAPIRO TO MRS. RAVELLI MRS. SHAPIRO It's that millionaire playboy! MRS. RAVELLI He's handsomer than his picture ina da paper! ON WONG AND SCHULTZ MR. WONG (in CHINESE to Schultz) What's he doing in this neighborhood? Schultz shrugs as though he understands as Waldo again uses MUSICAL CAR HORN and all react as Betty calls from up on her fire-escape BETTY (O.S.): Waldo……..! LOOKING UP TO BETTY ON HER FIRE ESCAPE BETTY I'll be right down! (she goes into apartment) ON THE STREET AND NEIGHBORS as Neighbors buzz excitedly, Freddie ENTERS SCENE with his wagon and reacts to the excitement and sight of Waldo and the Roadster, looking to Mrs. Shapiro questioningly FREDDIE Good afternoon, Mrs. Shapiro. What's going on? MRS. SHAPIRO (sad for him, pats his cheek) Poor Freddie...don't ask! As other neighbors buzz more excitedly and ad-lib remarks like, "Doesn't she look swell Look at that little angel:" etc. Freddie looks to stop and reacts HIS P.O.V. - BETTY ON THE STOOP Betty is a vision in a sporty outfit just right for a 1939 Autumn in New York and neighbors and friends APPLAUD HER and remark aloud assorted congratulations and favorable comments as she comes down the stoop steps to stand by Waldo's car as Waldo opens Roadster door for her. MRS. HOCHHAUSER Have a wonderful time, Betty.... MR. DI NATALE Thata girl looksa like a movie star! MRS. SHAPIRO: What a beautiful couple! ANOTHER ANGLE - FREDDIE, WALDO AND BETTY as Betty steps on running board to get into roadster, Freddie steps up to her and Waldo who is looking rather annoyed at the delay. FREDDIE Betty....I'm so…….. happy for you: (this was hard for him but he really loves her; he shakes Waldo's hand) You're a lucky so and so, Mr. Van Lavish. You've got yourself a wonderful girl! (he fights back true emotions) WALDO (unimpressed, brushes Freddie aside and closes door as Betty sits in car) Excuse us. I have no time for under-class chit chat! Waldo gets in Roadster and STARTS ENGINE WITH A ROAR and WHOOSH OF EXHAUST ON NEIGHBORS FEELING EXHAUST They are all thrilled for Betty, shouting and waving approval such as: MR. SCHULTZ Have a good time: MR.WONG (in CHINESE): Enjoy yourselves! FRENCHY (furious, shouting, waving fist) Exploiter of the poor! Plutocrat! Lounge lizard! But Frenchy is the only disapproving voice as ROADSTER PULLS OUT OF FRAME and we CHANGE ANGLE ON POLLY IN BETTY'S WINDOW LOOKING DOWN POLLY No necking on the first date! No necking! Yawwwk! TO FREDDIE-LOOKING AFTER ROADSTER SADLY FREDDIE (in still, sad voice) Good lucky, Betty. All the luck in the world. (he stiffens his upper lip and moves off, calling) Ice! I have Ice………. CUT TO: ROMANTIC MONTAGE OF BETTY AND WALDO IN NEW YORK as MUSIC of the era rises and plays UNDER, SWELLING ROMANTICALLY as the scenes progress, underscoring the deepening love which Betty feels for Waldo. Some of the songs might be: RHAPSODY IN BLUE, LET'S DANCE, A-TRAIN, SO RARE, MY REVERIE, PENTHOUSE SERENADE,etc. CENTRAL PARK - A BEAUTIFUL FALL DAY as Waldo pulls his Roadster in at entrance to Central Park Zoo, buys Betty a balloon and then walks on ahead of her, mostly oblivious to her presence, more interested in tipping his hat to PRETTY GIRLS going by the LION'S CAGE. The Pretty Girls are like the voluptuous girls in a Reginald Marsh drawing and they are eating cotton candy and giggle as Waldo waves. But Betty takes his arm and pulls him over to her protectively as we FOLLOW THEM TO THE GORILLA CAGE As Betty turns to look at HUGE GORILLA who is fascinated by Waldo's hat as Waldo, his back to Betty, again starts tipping hat to more PASSING PRETTY GIRLS GORILLA as he can't resist hat and reaches for it through the bars ON WALDO AND BETTY Waldo is only interested in tipping hat to Pretty Girls who again giggle at his remarks WALDO Afternoon, girls....delightful fall day, isn't it? Would you care to discuss autumn leaves with me at some future date?.......... How charming you look—etcetera, etcetera.... During preceding, Betty sees GORILLA GRAB HAT BRIM and she leaps up, FIGHTS WITH GORILLA who DRAGS HER INTO CAGE ON WALDO AND PRETTY GIRLS as he chats to them while Batty is BATTLING GORILLA FOR THE HAT in the cage behind him. Betty is yelping and muttering as she gets battered and has to USE HER STRING PURSE to BELT THE GORILLA and retrieve the hat, slide out of bars of cage and slip hat back between Waldo's fingers as he tips again. He has noticed nothing of what went on, takes Betty's arm . She is gasping for breath, trying to arrange dishevelled outfit WALDO (to girls during Betty's struggle, says "Etcetera" as a word) Smashing complexion, etcetera.... must be the air—bracing—brisk... etcetera, etcetera.... (then taking Betty's arm without noticing her state) Let's see the elephants, Betty. Elephants are so stimulating, aren't they? BETTY: Elephants....? AT THE ELEPHANT ENCLOSURE - BETTY AND WALDO Betty looking at Waldo with wide-eyed adoration as he gees to water fountain near elephant pen WALDO Peculiar creatures. Very responsive. Watch! Waldo PUTS FINGER OVER FOUNTAIN AND SPRAYS WATER AT ELEPHANT, then turns away to become enthusiastic over a TOADSTOOL ON A TREESTUMP Look there! Fungus! I adore the local fungus! It's so New York! ON ELEPHANT which gets squirted by Waldo. It reacts, angry, PUTS TRUNK IN WATER BUCKET and SPRAYS BETTY ON BETTY AND WALDC as Waldo has his back to Betty, rapt in fungus study as Betty GETS DRENCHED WALDO (to toadstool) Even a common toadstool has character in Manhattan (taking Betty's arm, not even noticing that she's soaked) Enjoying yourself, aren't you? BETTY Oh, yes! Imagine I, a mere worm, out on the town` with the great Waldo Van Lavish: WALDO (not looking at her as he walks on to Roadster) Yes……… (preens in SIDE VIEW CAR MIRROR) Imagine! (he holds car door for her) TRAVELLING SHOT- FIFTH AVENUE OR EAST RIVER DRIVE As Betty and Waldo zip through traffic in open roadster ON BETTY AND WALDO IN CAR SEAT as Betty cuddles adoringly beside Waldo who gives her a casual grin, driving without looking at the road ON THE ROAD -ZOOMING UP TO HIGH ANGLE as Roadster moves along downtown EMPIRE STATE BUILDING FROM AERIAL VIEW CLOSE IN ON OBSERVATION TOWER ON BETTY AND WALDO as Waldo pumps coins into OBSERVATION TELESCOPE and hands Betty a BROWNIE CAMERA . High WINDS WHIP BETTY'S DRESS over her knees and she is getting lots of WHISTLES and DOUBLE TAKES from MEN. Betty ignores them and Waldo is oblivious to her charms WALDO Here! Take my picture....Waldo Van Lavish, rampant against the tapestry of the city! Make it memorable, darling.... BETTY (agog as she takes Brownie) "Darling!" (ignoring more WHISTLES, she climbs on GUARD RAIL and leans out into space to get a good shot of Waldo) HER P.O.V. - WALDO USING TELESCOPE as Waldo turns, focuses, turns, focuses WALDO Amazing! Scenic majesty! Breath-taking etcetera.... WALDO'S P.O.V. -THROUGH TELESCOPE "CUTOUT" He is watching SECRETARIES IN OFFICES and PRETTY GIRL SUNBATHING ON ROOF, etc. ZOOMING IN AS HE FOCUSES MORE TIGHTLY on the Sunbathing Girl WALDO (V.0.): Inspirational: Impressive: Nifty: ON BETTY as she totters on Guard Rail trying to line up shot and then WIND BLOWS HER OVER, her dress billowing as she shrieks and grabs bottom of rail at last instant, scrambling back to safety against a DRIVING WIND that keeps forcing her back over. ON WALDO AND BETTY as Betty just reaches safety- her plight unnoticed by Waldo - as Waldo takes her hand and starts toward elevator WALDO I have an exciting, romantic notion.... BETTY: Romantic? Oh, Waldo HIGH ANGLE SHOT-ON 59TH STREET BRIDGE We are TRAVELLING PARALLEL TO BRIDGE as though in airplane as we HEAR WALDO (V .O . ) The World's Fair: Won't that be romantic? BETTY (V.0.): (not thrilled) I hope so ………. THE BRIDGE ,AS ROADSTER MOVES TOWARD CAMERA and Betty nestles closer to Waldo who gives her a bigger smile EXT. THE NEW YORK WORLD'S FAIR OF 1939 AERIAL VIEW ON TRYLON AND PERISPHERE as we MOVE IN AND DOWN TO FAIRGROUNDS as MUSIC SWELLS and we PASS THE EXHIBITS - THE GENERAL MOTORS WORLD OF THE FUTURE, THE JAPANESE IMPERIAL TEMPLE PAVILION, THE BELGIAN CARILLION-as BELLS CHIME and PIGEONS SWOOP AROUND IT ,etc. and during this we HEAR WALDO (V.0.) Imagine, Betty, all the nations of the world are here……… BETTY (V.0.) (unimpressed) Whoopee. WALDO (v.0.) But there's something even more important than that? BETTY (V.0.): (now low in spirits) No kidding? ON BETTY AND WALDO IN FRONT OF G.M. "WORLD OF TOMORROW" WALDO Yes....you and I are here ……… together! (he takes her in his arms and smiles) BETTY (melting) Oh, Waldo WALDO (out of clinch, leading her up ramp to exhibit) Come with me to the world of the future! INT. GENERAL MOTORS "FUTURAMA" where Betty and Waldo ride MINIATURE"CARS OF TOMORROW" along a model "SUPER HIGHWAY OF THE FUTURE" through a minature ultra-modern city, 1939 version ala Flash Gordon. Waldo ZOOMS ahead of Betty in his little car to tip his hat and chat to PRETTY GIRLS IN TYROLEAN COSTUME in another car as Betty reacts and tries to catch up. ON BETTY as she steers around tiny car traffic to catch up with Waldo, reacts at what she sees him doing BETTY Come back here, Waldo.... HER P.O.V.- WALDO as he pulls alongside another little car, this one driven by PRETTY SWEDISH GIRL IN NATIVE COSTUME as he HONKS at her and tips his hat ON BETTY as she mutters to herself and tries to weave in and out of tiny-car traffic, watching Waldo instead of the road and then ZOOM INTO RAMP as Betty ,not watching the road, takes ramp which sends her up onto ELEVATED TRAIN OF TOMORROW RAILS and the TRAIN IS C OMING ON BETTY as she reacts and starts REVERSING, keeping just ahead on ONCOMING TRAIN MEDIUM SHOT as Betty BACKS DOWN RAMP at top speed and rught beside Waldo' s car coming around again where she links arm with him as their two cars go around side by side and we CUT TO: EXT. YACHT BASIN AT 79TH STREET - LATE AFTERNOON as we CLOSE IN ON YACHT to see that it's name on the side reads S.S. OPULENT as we HEAR BETTY (V.0.) Oh, Waldo, alone at last ON DECK OF YACHT - WALDO AND BETTY Both now wear yachting attire and Waldo gives wheel to Batty WALDO Take her out, Ensign Boop! BETTY Aye, Aye,Skipper! (she spins wheel) ON THE RIVER- YACHT MOVING OUT FAST as we MOVE BACK TO BASIN and CLOSE IN ON A.MOTORBOAT which PUTTS THEN ROARS TO LIFE, pursuing the yacht at great speed. THE MOTORBOAT- MIMSEY AND TRACY As they lean forward, faces grim, pursuing the yacht and Waldo ON DECK OF YACHT- WALDO AND BETTY as Waldo smiles admiringly and puts his arms around Betty from behind, "helping"her to steer WALDO You have a knack for the sea, Betty. BETTY (coyly) Everybody says I'm nautical, but nice. (bats her lashes at him) WALDO (looking deep into her eyes, leaning closer) I say, Betty ANOTHER ANGLE- THE SIDE OF THE YACHT as a WAVE RIDES UP TO SAME HEIGHT AS YACHT DECK and then MOTORBOAT with Mimsey and Tracy aboard and waving, rides alongside TRACY AND MINSEY (calling) Ahoy, Waldo Van Lavish THEY DROP FROM SIGHT WITH BOAT AS WAVE DIPS, then, WAVE RISES AGAIN SO THEY ARE ALONGSIDE AGAIN and they call and wave again May we come aboard? ON BETTY as she grabs wheel and spins it ferociously, turning yacht around much to Waldo's surprise BETTY No tramps on this steamer! Prepare to come about! ON THE YACHT AND MOTORBOAT, EYE LEVEL THEN HIGH ANGLE, ETC. as Betty runs yacht at great speed up river, around TUGBOATS, missing BARGES as she weaves in and around them to shake Motorboat which keeps pursuing until Betty moves yacht down a slip, the Motorboat misses it and runs SMASHING INTO A CLAMHOUSE ON TIC' PIER INT. CLAMHOUSE- THE MOTORBOAT, MIMSEY AND TRACY as they come to rest in a CLAM BAR where PATRONS stop eating to react and Mimsey and Tracy bawl in unison ON THE DECK OF THE YACHT- WALDO AND BETTY WALDO (admiringly to her): Betty ,Betty, Betty! You are truly "Yar:" BETTY Thanks, Waldo ……What's "Yar?" WALDO (takes her in his arms) A sailing term that means ……….. positively lovely! BETTY (she happily "rocks" in his embrace) Say it slower. DISSOLVE TO: EXT. SKYLINE OF MANHATTAN AT SUNSET as romantic MUSIC SWELLS and we PAN TO WEST SIDE HIGHWAY - THE ROADSTER FRONT SEAT OF ROADSTER- BETTY AND WALDO as they kiss and she cuddles up to him while he drives and smiles at her CLOSER ON BETTY AND WALDO WALDO Betty...I have decided I'd like you to meet my father and mother tonight. BETTY Meet your folks? Oh, Waldo…………. WALDO Meet me at the Astor Bar at eight-fifteen and don't be late or I'll replace you. BETTY (thrilled, kissing him, hugging him) I'll be there.... Oh, Waldo, darling, you've made me the happiest Boop in the world! as Roadster PULLS OUT OF FRAME we PULL SAY BACK AND CHANGE ANGLE, WIDENING SHOT so we see Roadster speeding into GLORIOUS SUNSET AND CITYSCAPE as romantic MUSIC hits its peak and we DISSOLVE TO: EXT. THE CLUB BUBBLES-NIGHT - ESTABLISHING cars and patrons arriving but Mischa is not at door CUT TO: INT. MISCHA'S OFFICE A distraught Mischa sits at desk and tries to pour Vodka with a violently shaking hand. The room is shadowy in the "film noir manner and is lit only by a desk lamp. Betty rushes in, brimming with happiness, rushes to Mischa and hugs him, kissing his cheek BETTY (rapidly, joyful) Uncle Mischa: Uncle Mischa, I have to quit working here! Waldo Van Lavish wants to marry me! MISCHA Waldo Van Lavish asked you to be his wife? BETTY Not exactly, but he wants me to meet his folks and you know what that means.... Huh? Betty reacts as Mischa suddenly gets up and starts pushing, tugging her out of his office with great urgency. MISCHA I hope it means what you think it's meaning! Go and be. happy, Betty, my little droshky! Go before Johnny Throat comes back with his nogoodniks! (he pushes her, she resists) BETTY Don't worry, Uncle Mischa Bubbles: My first act as Mrs. Waldo Van Lavish will be to pay off your debt to those hoodlums! (kisses him) And now I must fly to meet my future in-laws MISCHA (urgently shoving her) Go! Dash! Leap! Hasten! That means run! BETTY: I'm goin'.... Betty turns and runs smack into CHUCKLES AND PUNCHY As Punchy grabs her in mid-air, Chuckles wraps her in a black and white checkered tablecloth as she kicks, fights, mutters ON CHUCKLES AND MISCHA as Mischa protests MISCHA: Stop! Let her go.... CHUCKLES (grabbing Mischa by lapels, snapping his sharp teeth in the Russian's face) You didn't see nothin', you didn't hear nothin', you don't know nothin'-understan'? (chuckles evilly, relaxes grip on Mischa, then,instantly icy cold, seizes him tighter) Mr. Throat decided the little Booparini is all out of rope! Chuckles tosses Mischa to the floor with a snarling chuckle and runs OFF with Punchy and the still kicking Betty in her tablecloth wrapping. ON MISCHA as he gets up, tears his hair out, frightened, anguished, runs back and forth, pacing in circles MISCHA Betty: What can I do to save you? What? (grabs vodka glass with trembling hand which shakes, making ICE TINKLE the glass, starts to drink, reacts, pulls glass to his nose, staring) MISCHA AND ICE IN THE GLASS MISCHA Ice! (grabs phone, CLICKS for operator as he raises receiver, yelling) Hello, Central, get me Freddie the Ice Man....! CUT TO: EXT. CLUB BUBBLES - BIG BLACK-LIMO as Punchy ties tablecloth wrapped and struggling Betty to the running board and then gets into car with Chuckles and ROARS OFF INTO THE CITY NIGHT CUT TO: EXT. PARK AVENUE APARTMENT BUILDING -VERY TALL AND UNLIGHTED as big, black limo PULLS IN and Chuckles and Punchy quickly grab the tablecloth wrapped Betty and whisk her into building. A LIGHT GOES ON in first floor elevator and we see ELEVATOR LIGHT RISE UP, UP, UP to the penthouse floor which is ablaze with light. ZOOM UP TO LIGHTED PENTHOUSE and then CUT TO: INT. JOHNNY THROAT'S ART DECO-BLACK AND WHITE MOTIF -PENTHOUSE As Chuckles and Punchy dump Betty out of tablecloth so that she rolls across floor to come to rest at the feet of Johnny Throat . She sees the feet and we TILT UP from HER P.O.V.to Johnny who leers down at her with naked desire. He now wears black silk dressing gown with white carnation and an even longer white scarf. JOHNNY THROAT Yargha wargha. Fragh yobba graghhh! CHUCKLES ( sticking his face up INTO FRAME, translating) Mr. Throat says, "Hiyah, sweetheart. Glad you accepted my invitation!" (he chuckles) ANOTHER ANGLE- JOHNNY ,BETTY AND CHUCKLES as Betty angrily struggles, kicking in mid-air as Johnny Throat hauls her along with him to open french doors'beyond which we see his terrace and the LIGHTS OF THE CITY BELOW. BETTY (yelping, muttering, struggling,etc.) Invitation my clavicle! Your goons kidnapped me here, ya big punk.... Watch those meathooks!...Let me go.... AT OPEN FRENCH DOORS -JOHNNY, BETTY,_ CHUCKLES AND_PUNCHY as Johnny sets Betty down, turns her so she is looking out at the view then signals Punchy who has small VIOLIN in his huge hands. Throat does his "ordering" with a series of rapid, hoarse grunts , fingersnaps, etc. On his signal, we go to ANGLE FEATURING PUNCHY as he PLAYS VIOLIN in schmaltzy, beautiful version of, say, "Penthouse Serenade" Then we MOVE SO THAT BETTY, JOHNNY AND CHUCKLES are the center of attention and Punhcy goes to b.g. JOHNNY THROAT (arm around Betty, he points out to cityscape with sweeping gesture and "speaks" to her tenderly, with great feeling) Yarggh harggh frugh hugh brgghhh. CHUCKLES (translating in Betty's non-violin listening "free" ear in emotional tones) This is my town. I own it. I won it the hard way - from the Bronx to the Bowery - won it with my guts and (looks to Johnny) JOHNNY THROAT (insistently then sheepishly to Betty as Chuckles overlaps with "simultaneous" translation) Brgghh yargggh haghhhh fragghh brggh... CHUCKLES Excuse me. I shouldn't ought to say 'guts' around a lady. What I mean is, I won control of the city because I got strong intestines.... BETTY (kicks Chuckles in the shins, tries to pull away from Johnny) Leave go: I got a date at the Astor Bar in half an hour: I don't give a hoot about a hoodlum's internal organs! JOHNNY THROAT (puts one finger on. top of her head and spins her around as is she were a. top so that she' must face him, his huge face close to her little face) Shargh frgahagh frmmmssgh! CHUCKLES (spins her in opposite direction and puts his weasle face up next cutesy face, translating for Johnny) It don't matter I got the city, on account of I don't got no doll. with class enough to share it with me! JOHNNY THROAT (spins her back to face him again) Fgrrrh hmbbggh.... CHUCKLES (spins her back to face him) Up til now, that is.... (spins her back to face Johnny Throat) JOHNNY THROAT Frgghh yarggh yowwwgh: (spins her around to face Chuckles) CHUCKLES 'Cause now I got YOU!!! BETTY The heck you do! So saying, Betty STOMPS HER HEEL DOWN onto Johnny Throat's toes making him release her and jump back holding his foot at the same time as she TURNS AND WINDS UP WITH STRING PURSE letting it FLY BACK OVER HER SHOULDER, so that it CATCHES CHUCKLES IN THE FACE, then she swings purse forward where it CATCHES PUNCHY IN THE VIOLIN, DRIVING IT INTO HIS MOUTH where it SCREECHES AND ZINGS as he tries to pull it out through his teeth. Then, as Johnny pursues Betty, hopping on _one foo,holding the sore foot, yelling at her hoarsely with Punchy and Chuckles joining in the chase, Betty GRABS ROLLING DRINK CART, leaps on it and RIDES IT LIKE A WAR WAGON, tilting rack of CHAMPAGNE BOTTLES on top shelf on its side, she .RAPS BOTTLE BOTTOMS WITH A BIG SWIZZLE STICK AS SHE RIDES PAST JOHNNY, the impact SHOOTS THE CORKS OUT like machine gun fire making Johnny and his hoods duck while CORKS BLAST AWAY AT JOHNNY'S "ART WORK" - statues of Art Deco-Paul Manship style (He did Prometheus in the skating rink at Rockerfeller Center)- say something like the Goddess Diana with bow and arrow and a nude Water Bearer, etc. - When STATUES FALL, they also clobber Johnny and Hoods who,keep pursuing until BETTY RAMS CHUCKLES AND PUNCHY with drink cart which EXPLODES WHEN IT HITS, FESTOONING THEM WITH. MARTINI GLASSES THAT lodge in Punchy's eyes so that he looks like a Martian, BOTTLES THAT HANG BY CORKSCREWS to Chuckle's ears like pendant earrings as FRUIT FROM BAR BOWL LANDS ON HIS HEAD so he looks like Carmen Miranda. ON BETTY AND JOHNNY THROAT as Johnny runs after her on both feet now and makes a two handed grab for her she turns and BRINGS AN ORNATE LAMP DOWN on his head so that IT CRASHES and Johnny is stuck in the tasseled lampshade which fits his middle, pinning his arms to his side like a ballet tutu. Betty turns to face him as she reaches the door BETTY I got two words for you.... (sticks her tongue out, gives TWO RASPBERRIES) Pr*********! pr***********! (she EXITS, SLAMMING DOOR) DOOR SLAM BRINGS DOWN SHELF AFTER SHELF of DISHWARE WHICH CRASHES AT JOHNNY'S FEET ON JOHNNY THROAT as he roars in hoarse fury JOHNNY THROAT: Yaaaaarrggghh frgaaagh hrgbghgh! CHUCKLES - (drawing forty-five) Nobody turns down Johnny Throat twice - not even Betty Boop! JOHNNY THROAT (face FLUSHES CRIMSON) Graggh Bragggh harghahagh! CHUCKLES (to Punchy) Find her and...finish her off! (he chuckles maniacally) Chuckles and Punchy - eho has also drawn a gun- now run OFF as Johnny Throat continues to rant and bellow hoarsely after them, shaking a huge fist at the camera until it FILLS THE SCREEN and we CUT TO: EXT. THE CLUB BUBBLE S Mischa is waiting, pacing as Freddie WHIZZES IN in Ice Wagon, his HORSE almost passing out with the effort of the run. MISCHA AND FREDDIE FREDDIE You said Betty was in danger...! MISCHA Hurry! Maybe there's still time to save her! Mischa and Freddie run OFF CUT TO: EXT. THE ASTOR HOTEL NEAR TIMES SQUARE - NIGHT In this establishing shot we get glimpse of the LIGHTED SIGNS OF BROADWAY-TIMES SQUARE as we CLOSE IN ON ASTOR CLOCK which shows the time to be eight - twenty INT. THE ASTOR BAR - WALDO AT BAR WITH LANGUID BARTENDER as Waldo looks at his watch testily WALDO I distinctly said eight-fifteen! She's five minutes late! (hands empty glass to Bartender) One more sazerac and I shall leave! ON BETTY As she runs to Waldo. She is bedraggled, clothes torn, her string purse looks shell-shocked. BETTY Oh, Waldo, dearest, here I am! I'm sorry I'm late. WALDO (petulantly) It's not the five minutes that bothers me, it's your slovenly appearance! You're a mess! BETTY I can't help it! I've been running for my life! WALDO Oh, really? From whom? BETTY (looks around, reacts) From thom! (pronounce like "whom") ON CHUCKLES AND PUNCHY as they brandish guns CHUCKLES: Rub ' em both out (he cackles and SHOOTS) ON WALDO AND BETTY as GUNFIRE SHATTERS BAR GLASSES,MIRROR etc. behind them and on all sides of theta, Waldo cringes, "teeth chattering, hiding behind Betty, totally terrified, shrieking in high pitched voice WALDO They're going to hurt me Mommie! Help! BETTY (grabs and shleps him out with her, on the run) I didn't come this far to lose my millionaire to -a love-crazed - gangster's gunsels! as Betty and Waldo run OFF, Chuckles and Punchy run AFTER THEM, SHOOTING CONSTANTLY as we CUT TO : 42ND STREET - BETTY HAULING WALDO as she runs toward Club Bubbles followed by wildly SHOOTING Chuckles and Punchy. She points to the Club and speaks to Waldo BETTY I'll get Uncle Mischa to call the cops CUT TO: ANOTHER VIEW OF STREET CORNER as Betty and Waldo and hoods run one way, we CHANGE ANGLE to see Freddie and Uncle Mischa running other way to Johnny Throat's building where they run inside. We then see elevator light, etc. as before only much faster and we CUT TO: INT. JOHNNY THROAT' S WRECKED PENTHOUSE as he picks up the ONE UNBROE N DISH LEFT and studies it as FRONT DOOR IS KICKED IN, SMASHES HIM AND THE DISH IN THE FACE and comes down on top of him as Freddie runs in followed by Mischa. Freddie hauls Johnny out from under door and holds him by the scarf, shaking him like wet laundry on a line. FREDDIE Where's Betty, you public enemy! Talk! (he twists scarf) JOHNNY THROAT: (frightened) Grahhh harggh brhhhghh MISCHA (translating) He says his boys tailed her to the Astor Bar to kill her and her snob boy friend, too!……..I think. Freddie yanks end of Johnny's scarf making him SPIN, FLIP AND END UP HOG-TIED BY HIS OWN SCARF and hanging from hook over - his fireplace like a stuffed marlin FREDDIE: We've no time to lose! As Freddie and Mischa start running OFF CUT TO: EXT. CLUB BUBBLES as Betty and the still sobbing, cringing Waldo arrive at the neon and light active front door, Chuckles and Punchy catch up, SHOOTING and MOVING IN ON THEM, both hoods smiling, levelling their guns ON BETTY AND WALDO as she reacts, again hoists Waldo by an armpit BETTY No time to call the cops now.... Come on! As Chuckles and Punchy lurch toward them, Betty back up against MOVING LIGHT STREAM OF NEON AND BULBS at the champagne "stream" flanking the door. WALDO: I want my mommie! BETTY Hang on, ya cry baby.... Betty GRABS UPWARD MOVING CHAMPAGNE LIGHT "STREAM"AND RIDES IT TO THE ROOF OF THE BUILDING hauling Waldo up with her. ROOF OF CLUB BUBBLES Betty and Waldo arrive. Area is backed and surrounded by THE MOVING, GLITTERING NEON AND MOVING LIGHT BULB SIGNS OF BROADWAY AND TIMES SQUARE . BETTY (Grabs Waldo's hand) We can't hang around here.... WALDO But I'm afraid of heights....Yaaaaa! As Betty runs with him toward edge of the roof we go back to CHUCKLES AND PUNCHY as they look up in wonder and dismay. Chuckles nods to Punchy and heads for the upward rising champagne light "stream" CHUCKLES: After dem! Chuckles grabs light and RIDES IT UP, chuckling as he rises. Punchy times his grab wrong, is HIT BY POPPING NEON CORK, knocked over so his foot catches RISING LIGHTS and he is CARRIED UP THE SIGN OF LIGHT, upside down and hollering CUT TO: PARAPET OF CLUB BUBBLES ROOF as Chuckles emerges from his upward ride, looks off and yells as he aims his gun. Meanwhile, Punchy arrives, turns over as light "stream" deposits him over parapet, onto roof, rights himself and also aims his gun THEIR P.O.V.- BETTY AND THE CRINGING, WHINING WALDO as they are at the opposite end of the roof, right at the edge. Behind them is the HORIZONTALLY MOVING LIGHT BULB"FLOW" OF A BROADWAY THEATER MARQUEE on which we can glimpse the sign. which reads "CAPITOL THEATER -JIMMY LUNCEFORD -ELLA FITZGERALD" Batty and Waldo react as THEY ARE SHOT AT ON BETTY AND WALDO as Waldo hides his eyes, Betty looks around, sees horizontally moving marquee sign and LEAPS OUT across black space, GRABS MOVING "FLOW" OF HORIZONTAL MARQUEE LIGHTS and RIDES IT ACROSS THE STREET to THE BASE OF A TALLER, VERTICAL NEON SIGN which is shaped like a GIANT THERMOMETER in which the RED NEON MERCURY RISES TO THE TOP and then VANISHES only to REAPPEAR AGAIN AT BOTTOM OF THERMOMETER and again rise, etc. Sign over Thermometer reads "HOT? -TRY COOLY COLA" We FOLLOW BETTY AND WALDO as Betty climbs from top of marquee, up skinny iron ladder to bottom of Neon Thermometer Sign as BULLETS WHIZ AND PING AROUND HER and gibberish-shouting, terrified Waldo BETTY: Going up...! MIEDIUM SHOT- BETTY AND WALDO as, holding him by back of his jacket, she RIDES UP NEON' MERCURY COLUMN to top of thermometer and, just at the instant it VANISHES, she LEAPS THROUGH THE AIR ANOTHER ANGLE -BETTY AND WALDO IN THE NIGHT SKY as they HURTLE THROUGH SPACE and land ON THE BACK OF A NEON OUTLINE OF THE VINTAGE SOCONY-MOBIL FLYING HORSE which is part of a HUGE NEON SIGN IN WHICH NEON FLYING HORSE MOVES in a succession of "TRAILING" AFTER-IMAGES as ONE OUTLINE OF HORSE COMES ON, "FLIES" TO NEXT OUTLINE OF HORSE WHICH IS IN DIFFERBZ3T POSITION OF FLIGHT, THEN ITS LIGHT GOES OUT AS NEXT HORSE'S LIGHT LINE COMES ON AND SO FORTH. INTERCUT TO CHUCKLES AND PUNCHY as they look off, react, keep shooting and FOLLOW, first on horizontal moving “flow” of theater marquee, then onto mercury up that sign , etc. in each case, Punchy never gets it right and ends up "traveling" upside down, backwards, etc. and has to be yanked on by Chuckles. ON BETTY AND WALDO as Betty gains seat on FLYING NEON HORSE just as IT IS ILLUMINATED IN "STARTING"POSITION. Waldo slips and falls and Betty has to pull him up beside her on neon saddle. BETTY Hang on! Get 'em up, horsie! Wheee! NEON HORSE IN "STARTING" POSITION FLICKERS, GLOWS MORE BRIGHTLY AND "WHINNIES" THEN STARTS OUT ACROSS SKY, in succession of light-ups of neon horse shapes, Betty and Waldo RIDING the changing sequence so they are MOVING OUT ACROSS SKY ON THE NEON HORSE toward THE TOP OF THE NEW YORK TIIM,ES BUILDING. ON CHUCKLES AND PUNCHY as they watch the horse-ride escape of Betty and Waldo CHUCKLES: They're gettin' away! Chuckles and Punchy SHOOT ON THE NEON HORSE SIGN as their BULLETS SHATTER THE HORSE OUTLINE on which Betty and Waldo had been riding just as it starts to go out so that Betty and Waldo are still safe and "riding" next LIGHT UP HORSE OUTLINE AND ONTO THE NEXT, etc. THE CROWD AT STREET LEVEL as PEOPLE GAWK and point up, murmuring, "Look up there....a gun battle....that little girl is brave!" etc. as FREDDIE AND MISCHA RUN ONTO SCENE and also look up and gasp, reacting THEIR P.O.V. -BETTY AND WALDO as they continue NEON HORSE RIDE as BULLETS BREAK LIGHTS BEHIND THEIR LINE OF "FLIGHT" ON PUNCHY AND CHUCKLES as Chuckles turns to aim In another direction CHUCKLES Forget the hors. Go for the fuse box! (he SHOOTS) ON FREDDIE AND MISCHA as Freddie grabs UPWARD MOVING THEATER MARQUEE LIGHT STREAM and calls down to Mischa as he rides up to the rescue to the accompaniment of CHEERS from SPECTATORS FREDDIE Call the police while I try to save them! (calling up) Hang on, Betty! I'm on the waaaaay! ON BETTY AND WALDO as they RIDE HORSE TO ITS LAST NEON OUTLINE just a arms length away from safety at the roof of the Times Building BETTY (shouting down): Hurry, Freddie. I need you! ON CHUCKLES AND PUNCHY climbing structure of Flying Horse sign and SHOOTING AT THE FUSE BOX-AT BASE OF FLYING HORSE SIGN AS BULLETS HIT AROUND FUSE BOX which starts to SPUTTER AND SPARK ON BETTY AND WALDO as Waldo shrieks and hides eyes and their HORSE STARTS SPUTTERING, the light going on and off, barely keeping them in the "saddle" ON MISCHA -IN PHONE BOOTH AT GROUND LEVEL as he dials frantically, all the while looking at action up in the illuminated signs MISCHA (on phone) Police?...Come quick! We need you at Times Square! CUT TO: EXT. CITY STREET- IRISH COP Cop if on the phone and in b.g. there is ACTIVITY but we can't be sure just what IRISH COP We can't help you....we got enough to handle right here on 34th Street! as Irish Cop looks up in awe and lets phone drop we WIDEN SHOT and MOVE BACK TO HIS P.O.V. TOP OF THE EMPIRE STATE BUILDING- KING KONG BATTLING AIRPLANES CUT BACK TO: CHUCKLES AND PUNCHY as they SHOOT ON FUSE BOX as it is HIT, SPUTTERS AND EIPLODES ON BETTY AND WALDO ON FLYING HORSE as HORSE GOES OUT, SHATTERS and they FALL DOWN, DOWN ON FREDDIE FOR REACTION as he RIDES CIRCULAR SIGN WHICH LIGHTS UP FROM CENTER. Ha is moving from light in center to OUTSIDE RIM WHEN SIGN IS FULLY LIGHTED as he tries to reach Times Building as Betty and-Waldo FALL FREDDIE: Oh, Betty...Noooooo! ON BETTY AND WALDO as they FALL "INTO" MOVING LIGHT BULB "STREAM" OF WATER RUSHING PAST NEON AND LIGHT BULB ILLUMINATED SIGN advertising OLD BUSHMILL WHISKY. They float and "swim" in MOVING"STREAM " WALDO: Help! I can't swim! BETTY (keeping him afloat, sarcastically) My hero! ON FREDDIE as he now moves hand over hand from edge of LIGHTED DISC SIGN to the OLD MILL on the Bushmill sign. FREDDIE Tread water...I'm on the way... ON MISCHA AND CROWD BELOW as they react and look up MISCHA: Betty...watch out! MEDIUM SHOT- THE BUSHMILL SIGN we see that Betty and Waldo are in "mill race" stream and that it goes to LIGHT WATERFALL to which they are being swept along unknowingly ON CHUCI LE S AND PUNCHY as Chuckles swings out on sign and lands on catwalk across from Bushmills sign. Punchy follows and they both take careful aim CHUCKLES: Now we can't miss! ON BETTY AND WALDO just as SHOOTING STARTS and BULLETS"SPLASH" AROUND THEM, they are SWEPT OVER WATERFALL OF LIGHT and plummet THROUGH BOTTO V OF THE SIGN INTO MID-AIR, FALLING, FALLING ON FREDDIE IN WINDOW IN OLD MILL ON SIGN as he poses on ledge to jump FREDDIE Don't despair... (he DIVES INTO "STREAM" goes over the falls) ON BETTY AND WALDO IN MID-AIR as Betty looks down, reacts, hangs on to Waldo's leg HER P.O.V.- GIANT CAMEL CIGARETTE SMOKER SIGN HUGE SIGN SHOWS FACE OF SMOEKE AND HAND HOLDING LARGE, BURNING CIGARETTE. HAND PLACES CIGARETTE IN MOUTH, REMOVES CIGARETTE AND BLOWS SMOKE RINGS ON BETTY AND WALDO as Betty lands astraddle to the GIANT CIGARETTE, hanging on to yank Waldo up beside her . They each breathe a sigh of relief for a beat but then Betty reacts, gasps as she looks down at BURNING END OF CIGARETTE which is MOVING TOWARD HER PERCH so that she and Waldo have to scoot down closer to the HAND WHICH HOLDS THE HUGE CIGARETTE ON PUNCHY AND CHUCKLES as they move around on catwalk and now take CLOSE AIM WITH BETTY AND WALDO EXACTLY OPPOSITE THEM, sitting ducks CHUCKLES This is it, Boop and fop! (chuckles as he draws a bead) ANOTHER ANGLE- FREDDIE AS FREDDIE DROPS ON THEM FROM WATERFALL ABOVE, knocking them both off the catwalk into the air ON CHUCKLES AND PUNCHY as they yell as they FALL and land with a SPLASH AND PLOP IN THE RUPPERT BEER SIGN....Sign consists of a HUGE PILSNER GLASS FILLED WITH "LIGHT" BEER, and they hit and splash as we RESUME ON FREDDIE FREDDIE: That takes care of you.... (shouting) Hang on Betty! ON BETTY AND WALDO as HAND PUTS CIGARETTE IN SIGN MOUTH and takes a long DRAG WHICH"BURNS" CIGARETTE END CLOSER AND CLOSER TO BETTY AND WALDO until there's no place left to sit AND CIGARETTE BURNS AWAY LEAVING BETTY AND WALDO SITTING ON THE ASH which CRUMBLES and as they FALL, BETTY GRABS SMOKE RING, SWINGING ON IT with Waldo hanging onto her leg as SMOKE RING WAFTS INTO SKY AND THEN STARTS TO BREAK UP. Throughout,Betty is murmuring and muttering, "What a break....oh oh....ohno...etc." ON THE SMOKE RING AND BETTY AND WALDO AS IT DISINTEGRATES and they fall into A NET WHICH WE SEE ,ON WIDENING THE SHOT, IS HELD BY FREDDIE WHO IS LEANING OUT OF A POLICE AUTOGYRO CROWD GOES WILD AUTOGYRO LANDS DEPOSITING BETTY, FREDDIE AND WALDO as Mischa runs up and Spectators cheer, Betty hugs Freddie. MI SCHA: Betty, Booplitchka! Congratulations! BETTY (on "congratulations" steps out of clinch with Freddie) Yeah...I'm a lucky girl...well, come on, Waldo, honey, let's meet the folks.... (starts off with Waldo in tow, stops, blows kiss to Freddie) Thanks a million, Freddie! FREDDIE as he holds blown kiss to his cheek, fighting back tears FREDDIE You're welcome, Betty,.I'm sure. as Mischa puts a comforting arm around Freddie we CUT TO: EXT. THE VAN LAVISH TOWNHOUSE -NIGHT Waldo's Roadster is parked outside WALDO (V.0.) And so, Mummy, I thought Betty should meet you and especially Dad! INT. VAN LAVISH LIVING ROOM as Betty stands coyly and demurely to one side as Waldo introduces her to MUMMY, a snooty, diamond cluttered war horse and then DAD, a lecherous, grasping, green-faced old reprobate in yachting jacket and clutching hands. Dad sits in wheelchair and wears a badge marked CHICKEN INSPECTOR. WALDO Here she is, Dad. I think you’ll agree she'll be just perfect for your new upstairs maid! BETTY Thank you, Waldo, I………… Upstairs maid! DAD (grabbing at her) Come upstairs and I'll show you where my polo pony bit me! BETTY (issues a slow growing, louder by the minute cry of indignation as she winds up string purse) Yoooooooooowwwwwwwwwwwwwww! She uses PURSE TO BOP DAD, MUMMY, THE BUTLER AND THEN WALDO leaving them all in a crumpled, startled mass on the oriental carpet. She dusts her hands, gives them a hands on hips glare BETTY (continuing) Cafe society – baloney! (she FLOUNCES OFF) Dad cries and kicks the floor in a tantrum as we CUT TO: EXT. BETTY'S BUILDING AND STREET- DAY as Freddie slowly COMES ONTO SCENE with wagon, calling plaintively in his tenor voice FREDDIE Ice: I have Ice: Ice Man! He reacts and looks up as he hears BETTY (O.S.) Hey, Ice Man....! HIS P.O.V.- BETTY ON HER FIRE ESCAPE as she starts SINGING "I Only Have Ice For You" BETTY ARE THE STARS OUT TONIGHT I DON'T KNOW IF IT'S CLOUDY OR BRIGHT……….. ON FREDDIE FREDDIE: Betty! He runs into her building INT. STAIR HALL- FREDDIE FLYING UP THE STAIRS AS SONG CONTINUES OVER THE FIRE ESCAPE- BETTY as Freddie takes her in his arms and they SING the duet to the end BETTY AND FREDDIE WHO KNOWS, DEAR, IF WE'RE IN A GARDEN OR ON SOME CROWDED AVENUE YOU ARE HERE SO AM I MAYBE MILLIONS OF PEOPLE GO BY BUT THEY ALL DISAPPEAR FROM VIEW AND I ONLY HAVE EYES FOR YOU: As they come to close of song, POLLY FLIES OUT POLLY Kiss her, dummy! Kiss her! Yawwwk! Freddie and Betty kiss as we PULL BACK AND UP AND WAY UP BACK TO AERIAL VIEW OF THE CITY AS A HEART SHAPED WIPE CLOSES OUT THE SCENE as MUSIC SWELLS and we FADE OUT THE END